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Copyright l^^._J_^ 

COPYRIGHT DEPOSrr 



American Dramastists Series 

THE 

LITTLE MOTHER 

OF THE SLUMS 

And other plays by 

EMILY HEREY DENISON 




BOSTON: THE GORHAM PRESS 

TORONTO: THE COPP CLARK CO,, LIMITED 



Copyright, 1915, by Emily Herey Denison 



All Rights Reserved 



T5 35'«'] ^ 
] ^ 



The Gorham Pehss, Boston, XJ. S. A. 



•^ 



JUL I9jj|5 
©CI,D 41250 



This little volume is dedicated 
with loving devotion 

to 
J. F. D. and J. H. D. 



CONTENTS 

The Little Mother of the Slums 1 1 

The Yeggman 39 

Duped 55 

My Friend's in Town 75 

The Mystery of Beacon Hill 89 

Dolly Madison's Afternoon Tea 107 

The Dawn of Music 127 



THE LITTLE MOTHER OF THE SLUMS 
A PLAY IN ONE ACT 



SCENE — A caucus is being held comprising the 
chairman of the City Central Committee of The 
Fusion Party and its advisers. It is attended by 
the President of the Consolidated Aluminum Com- 
pany, The General Manager of The Street Rail- 
way Company, The President of The Redfern Dry 
Goods Company, and The Executive Com?nittee- 
man of the Fourth Ward City of Cheltenham. 

They are joined later by a committee of ladies. 



DRAMATIS PERSON AE 

John Garrison^ President of the Consolidated 
Aluminum Company. 

Marcus Shaw^ General Manager of the Street 
Railway Company. 

Philip O'Shea, Owner of the Redfern Dry 
Goods Company. 

Thomas McKee^ Chairman City Central Com- 
mittee, Fusion Party. 

Michael McGraw^ Executive Committee-man, 
Fourth Ward. 

"Davy^" Smith, Negro Porter. 

Mrs. John Garrison, Wife of President of 
Consolidated. 

Mrs. Marcus Shaw, Wife of the Manager of 
Street Railway. 

Mrs. Philip O'Shea, Mother of Owner of the 
Redfern Dry Goods Company. 

Miss Mildred Chandler, A Settlement Work- 
er. Factory Inspector. 

Patsy Campion, The Little Mother of the 
Slums. 



COSTUMES 

Gentlemen in evening dress, except McKee and 
McGraw who wear business dress. 

Mrs. Garrison and Mrs. Shaw and Mrs. O'Shea 
in evening costumes. 

Miss Chandler in street suit and The Little 
Mother of the Slums in the gray costume of a 
Visiting Nurse, wearing pearl gray bonnet and veil, 
and soft white muslin collar and cuffs. 

PLACE 

The palatial office of the Consolidated Aluminum 
Company. 

A handsome office furnished in mahogany, large 
table at center. 

TIME 

The evening of the dinner dance at the Silver 
Bow Club. 



The 
Little Mother of the Slums 

SETTING 

Garrison is seated at desk writing. {He presses 
a bell and the negro porter enters.) 

Davy 
Did you ring sah? 

Garrison 
Yes. Some gentlemen will call later. Let them 
in by card only. Here is the list. {Hands slip 
of paper to Davy.) 

Davy 
{Placing chairs around table.) Quite a com- 
pany Marse Garrison. 

Garrison 
{Looks up from work.) Yes, politics again and 
then more politics. 

Davy 
Dey was a lady heah to see you to-day. Had a 
hard time to make huh go away. 
Garrison 
What did she look like? 
Davy 
Oh, she was putty. She was — Oh you know dat 
little lady dat come heah two days ago. 
II 



12 LITTLE MOTHER OF THE SLUMS 

Garrison 
{Looking a bit disturbed.) Umph! U — m Yes, 
Yes. There, go now. 

Davy 
{Starts for door^ just then bell rings. He goes 
out into hall, then enters and stands beside door.) 
Deh gemmen are heah suh! 

{Enter Tom McKee, Shaw, O'Shea and Mc- 
Graw.) 

McKee 
Hello Garrison, have we kept you waiting? 
{Shakes hands.) 

Garrison 
No, Oh no. Sit there. {Pointing to chair at 
head of table.) Here, Mr. Shaw. {Points out 
places for others.) 

Shaw 
Thanks. And now let us get down to business 
as soon as possible. 

Garrison 
Hello Philip. Glad to see you. {Goes to Philip.) 
Going to the dinner dance too? 
Philip 
Yes. I promised to take mother over after I 
left here. {Leans against desk.) 
Garrison 
Take this chair McGraw. 

McGraw 
All right. Glad to be near the big chief. {Sits 
next to McKee.) 

Garrison 
{Out in front.) Come and join us Philip? 



LITTLE MOTHER OF THE SLUMS 13 

Philip 
No thanks, I want to smoke. 

McKee 
Well then the business before us, now that we 
have decided to run a Fusion ticket, is to devise 
ways and means to elect it. As you all know it 
takes money to run a campaign. I've got to see 
some pretty soon now. We need workers, printing, 
carriages and autos as well as clerical help and rent 
for headquarters. 

Garrison 
In your judgment, how much is needed to do 
the work of the campaign ? 

McKee 
{Carelessly.) About one hundred thousand. 

Shaw 
Oh ridiculous Tom, half of that should do. 

McGraw 
Well, campaigns come higher, Mr. Shaw, than 
franchises from the people. The only thing that 
is gotten for nothing in this town, is a franchise. 

Shaw 
{A little heated.) Look here McGraw. The 
City Railway pays more to each campaign and to 
the welfare of this city than any other concern here. 

McGraw 
But how much do you get back? Just about two 
hundred per cent, on every dollar invested here. 
You pay fifteen thousand dollars for the music in 
the parks for three months during warm weather 
and if your books were shown they would show a 
gross earning of three hundred thousand on the 
park car lines alone! Now the public are not 



14 LITTLE MOTHER OF THE SLUMS 

wasting any more affection on you than you have 
ever showered on them. And if you expect to get 
any favors you had better come through, for this 
Fusion crowd are the only bunch that will give you 
a look in. 

McKee 
Oh no, not so bad as that is it Mike? 

McGraw 
Sure. 

Philip 
Well what you say is not true of all the wards, 
is it McGraw? 

Garrison 

Well you'll always find discontent among certain 

classes, and the thing to do is to elect this ticket 

and get confidence again in business circles. This 

agitation is bad and the less we have of it the bettei. 

McKee 
That's my idea! Cut the agitation short and get 
it over with by having a short campaign. But it 
must be a whirlwind one! But if I am to get re- 
sults, I must have the coin. So I'll just jot down 
what each of you fellows will put up. Let's have 
your amount, Philip. 

Philip 
Well business is slow with us now, and I don't 
know as I am prepared to say, perhaps a couple 
of thousands. 

McKee 
No, won't do. We expect the Redfern people to 
put up at least ten. 

McGraw 
Sure, that's reasonable. Why here, Tom has 



LITTLE MOTHER OF THE SLUMS 15 

assessed our candidate for congress five thousand. 

Garrison 

Will he pay it? 

McGraw 

No, he has given notice that he will not pay one 
cent of it. His statement vii^ill appear in the Morn- 
ing NewSj defending his course against what he 
considers "squeezing by the big fellows." He will 
say "I'll go straight to the people. They must elect 
me by their votes, and they ought to have my con- 
fidence." {Winks significantly.) See! And they'll 
all vote for him too! Don't lose sight of his posi- 
tion as the yellow dog. His argument to be sure. 
But he believes he is being held up for the benefit 
of the Railway Company and the "big business" 
and if Philip here can only give two thousand to 
get clean government, why it does look like "make 
the little fellows pay the bills." Now don't mis- 
understand me. I haven't changed my position any. 
I am here to tell you as far as possible what the 
people think and I meet them every day, on the 
street corners, in the tenements and in the cafes. 
They are ready to follow any leader even if he is 
a yellow dog, and they know he is one, just so they 
can hit back at the "Interests." (Walking about.) 

McKee 

Mike is right. This is going to be a peculiar 

campaign and we must take the position of the 

trader not the dealer. But to the business at hand. 

How much will the Aluminum Consolidated give? 

Garrison 
(Cooly.) We will give fifty thousand. It is too 
much for our one company to stand, but we prefer 



i6 LITTLE MOTHER OF THE SLUMS 

{McKee writes) to get easy concessions and no 
kicks coming. 

McKee 
Well Philip — ten thousand for you? 

Philip 
Oh I suppose it goes. 

McKee 
No squealing you know. It's all in the game. 
{Writes.) Shaw what does the City Railway do? 
Shaw 
We — 11, I — {He begins slowly, then McGraw 
put in.) 

McGraw 
Fifty thousand, not a cent less. Those easy 
nickels from the widows and little working girls 
as our friend the congressman will tell the people. 

Shaw 

{Showing some temper.) And now Mike, what 
will your ward do, I mean The Row. {McGraw' s 
lips tighten and his brow wrinkles.) Ha! Ha! 
You don't talk so fast now, not so chesty, eh Mike? 
{All turn.) 

McGraw 

{Is at back center, folds arms, speaks cooly and 
slowly.) Not a cent, this time. {Very deliberate- 
ly.) There'll not be a dollar coming this time, 
only my personal donation! 

McKee 
Oh hold up McGraw! This is not a Sunday- 
school excursion we are planning. This is to help 
run a campaign and win an election. Those fellows 
down there, and women as well as men, know well, 
that they have had favors. It's up to them to come 



LITTLE MOTHER OF THE SLUMS 17 

through. You should have little trouble in getting 
your assessments. 

Shaw 
Of course he won't. Those people ought to be 
made to understand a business proposition. 

McGraw 
They very well understand a business proposition ; 
but they don't understand what this city calls 
a square deal. They understand that it is the busi- 
ness of the District Attorney to pinch them and 
close up their business if they don't come through. 
But they don't quite see why he should do it for the 
benefit of the Consolidated, or the City Railway 
or the Redfern Dry Goods Company, when they 
only ask to sell their goods, the same as you fellows, 
and pay for the privilege besides. 

O'Shea 
But they are carrjang on a nefarious business. 

McGrazv 
(Carelessly.) Oh not much more than you do. 
The little girl who works in your store for five 
dollars a week finds it's impossible to do it and 
keep honest. So she steals and you have her arrested. 
She is disgraced and she can no longer mix with 
eminently respectible people like you. So she comes 
down and lives in my part of the town. No ques- 
tions are asked there, but there has been a good 
deal of talking and teaching going on there lately. 
McKee 
Well, have they flatly refused? (Roughly.) 

McGraw 
Yes! (Heatedly.) 



1 8 LITTLE MOTHER OF THE SLUMS 

McKee 
Well, we'll just have the District Attorney send 
one of his special officers in the morning and give 
them a tip of what may happen, if they don't get 
in line. (Brings fist down.) 
McGraw 
{At end of table.) If you do I'll see to it myself, 
that he'll need both a surgeon and a beauty {strikes 
fist) doctor after he gives them your message! 
{This speech causes much intense surprise.) 
McKee 
Well, we'll throw the whole bunch in the Bull- 
pen! {Rises J shows anger.) 

Garrison 
Steady now. Just what has started this defiance 
to the custom that they pay for their protection. 

McGraw 
A sense of justice and a square deal. They have 
thrown off all fear and whether you jail them or 
let them alone, they won't vote your ticket any 
way! 

All 
What ! — ^Absurd ! — Tommy rot ! 

McGraw 
The women of the district will not register and 
the saloon keepers are going to vote as they please. 
They have been keeping well within the law and 
everything is orderly in the district. The factory 
girls will vote as Miss Chandler advises, and the 
fallen women will stay at home to please The Little 
Mother of the Slums, 



LITTLE MOTHER OF THE SLUMS 19 

McKee 

This is madness! {Excitedly.) Something must 
be done! I knew that woman-factory inspector 
would do a world of mischief, and ought never to 
have been appointed. But who is this other woman ? 
McGraw 
A woman with brains and beauty. {Reverently.) 
With a message and a past! 
McKee 
Oh we can look into her case. Perhaps she 
has no visible means of support. I'll let the District 
Attorney investigate her case. 
McGraw 
But she has. (Coolly.) She has beat you to it. 
She is one of the Visiting District Nurses, and is 
paid a salary by the Visiting Nurses' Association. 
McKee 
I wonder how that organization is supported? 

Garrison 
By public subscription. My company pays $5,000 
a year. 

Shaw 
The Street Railway Company pays $3,000 a year. 

McKee 
(Gives a low whistle. With fine scorn.) Well 
you fellows are mutts. You ought to be asked to 
run this campaign. Don't you realize that you are 
contributing to some of the biggest opposition we 
have to overcome in political campaigns! (Brings 
fist down with air of disgust.) 

Garrison 
(Showing much astonishment.) Why that is one 
of my wife's pet charities! 



20 LITTLE MOTHER OF THE SLUMS 

Shaw 
{Crusty.) Mine, too. But they'll get no more 
from me! 

McGraw 
Oh I think they'll manage to worry along with- 
out either of your donations. But the women are 
in this campaign, and in it to stay! {Carelessly to 
McKee.) Better make note of that, Tom. 

McKee 
Well I don't believe in paying any attention to 
them. 

Philip 
. Neither do L Better put the steam-roller on 
them. {This brings a laugh.) 
Shaw 
Oh they're like the old cat. They'll come back. 
But I'm for denying them every plea they make. 
They are getting to be a nuisance! {Shakes him- 
self.) 

McKee 
Gentlemen that's easier said than done. Why 
I've given half of my time all this week hearing the 
petitions from the one hundred and one women's 
organizations. And they seem more persistent than 
ever before in all my experience as chairman. And 
they are the best women in this city too. 
McGraw 
Of course they are. They are well fortified, for 
they are well-organized. They know what they 
want this time, and while they are not threatening, 
they are confident. 



LITTLE MOTHER OF THE SLUMS 21 

Philip 

Oh you fellows attach too much importance to 

these women. Brush them aside, tell them you are 

sympathetic, treat them courteously, and pitch their 

petitions in the waste basket. 

Shaw 

That's what I say. Don't receive them Tom. 

McKee 
{A little heated.) Oh you two talk like kinder- 
gartners! Why I have forgotten more about run- 
ning campaigns than you will ever know! And I 
know what I am talking about when I tell you that 
such tactics will never do! 

Garrison 
Well Tom, just what do they want? 

McKee 
(McGraw and Philip draw nearer.) They want 
a woman nominated for Commissioner of Social 
Welfare^ whose duties shall be to look after the 
schools, the poor, the city hospital and poor farm, 
the duties of Coroner, the library, playgrounds and 
public health. {All show astonishmentj then shake 
their heads "no.") 

Shaw 
Oh the fool women! They have too much time 
to think! 

McKee 
Next, — they want the restricted district closed 
and a hospital-home provided by the City to care 
for the sick and afflicted inmates, until cures are 
affected and normal living restored. Third — 
All 
Is there more!!!! 



a2 LITTLE MOTHER OF THE SLUMS 

McKee 

That a Vice Commission shall be appointed by the 
mayor as soon as he takes office, consisting of five 
members two of whom shall be women, whose duties 
it shall be to work for the social uplift of the city. 
The women members to look after the conditions 
and wages of working women, and to censor bill- 
boards, picture houses and dancehalls, and prepare 
various amusements in the parks. Also one half, 
the appointive positions under the Vice Commission 
to be given women, and women censors be ap- 
pointed for picture houses, theatres, billboards and 
public baths. 

All 

Never ! Never ! 

McGraw 
Ha! Ha! Hurrah for the women! 

McKee 
Well let's take a vote on this. It is well to 
remember that the women cast 46 per cent, of the 
vote in this city, so I hope you will all be as temper- 
ate in thought as possible. Register your vote by 
"aye" and "nay" as I call upon you: . . . . 
Garrison ! 

Garrison 
(Rising very pompously.) No. 

McKee 
Shaw! 

Shaw 
(Rises so mad he is stuttering.) I — I — I vote 
NO!!! 

McKee 
Philip? 



LITTLE MOTHER OF THE SLUMS 23 

Philip 
{Hesitates, speaks thoughtfully.) N-0-0. 

McKee 
McGraw 

McGraw 
{Coming front, all are standing and turn as he 
hesitates. Then in clear voice.) I vote "aye!" 
Shaw 
This is treason to your best and oldest friends! 

McKee 
McGraw, your heart is voting now, better not 
let me record that till to-morrow, when your head 
will be more in evidence. 

McGraw 
No! No! Record my vote "aye" now! 

Garrison 
{Very easily.) Mr. McGraw, will you permit 
me to ask, why you entered this caucus? 

McGraw 
Sure ! I came on the invitation of the City Chair- 
man, and for the purpose of expressing my con- 
victions! {All sit except McGraw.) 

Shaw 
Don't you think McGraw, that this conference 
has the best interests of the City at heart as well 
as those emotional women? 

McGraw 

I do not. Lknow men and so do you. And I 
know a great many of those good women. I never 
could look into a good woman's face again, if I did 
not support their unselfish labor in the interest of 
humanity. {Bell rings.) 

{Enter Davy.) 



24 LITTLE MOTHER OF THE SLUMS 

Davy 

Marse Garrison! Marse Garrison! {Eyes roll- 
ing.) Dey's ladies out dar! Oh Lawd, lots of 
dem! (All rise, jostle chairs in excitement. Garri- 
son motions silence.) Go back Davy and find out 
their business and bring in their cards, {Philip 
strolls up stage rubbing his hands over his hair to 
see if part is straight. Shaw rushes to mirror in 
hat rack and adjusts his tie. Garrison lounges in 
his armchair and adjusts his trousers over his shoe- 
tops. Takes out handkerchief and dusts his shoul- 
ders. McGraw takes a position of indifference with 
elbow on top of roll-top desk up left front, ivhile 
McKee who has kept his position at head of table 
has taken out a mirror and is combing his hair.) 
McGraw 

You're all out of sight! {Much amused.) Ha! 
Ha! 

Davy 

{Returns more frightened than before. He places 
cards on table before Garrison and backs away 
toward right entrance. Garrison takes up a card. 
Reads. Then puts it closer to eyes as if he had not 
read aright.) Mrs. Marcus Shaw! 

Shaw 
{Leaning with hands on end of table stammers 
breathlessly.) My Wife! 

Garrison 
{Reading another.) Mrs. Philip O'Shea. 

Philip 
Impossible. Why even now^, mother is at home 
waiting for me to take her to the ball! 



LITTLE MOTHER OF THE SLUMS 25 

Garrison 

{Taking the other card, holds it out in his hand 
as if he can not believe his eyes.) Well here is, — 
and — and — my wife! {He sits back in chair.) 
What-t-t. (Gasps.) What is the conspiracy! Admit 
them Davy. ( They watch the door intently. Philip 
partly up stage. McGraw has strolled to Right 
back and Shaw, McKee and Garrison are at table. 
As the ladies enter they stand. Garrison has been 
at front of table so he meets Mrs. O'Shea, who 
comes in first. He shakes her hand. McKee goes 
to meet Mrs. Garrison leading her to head of table. 
Philip takes Mrs. Shaw to a chair, while McGraw 
remains up stage.) 

Philip 

Mother, you are getting giddy! {She passes up 
front.) 

McKee 

Ladies this is a great honor. Please make your- 
selves at home. 

Mrs. Garrison 
We learned that you gentlemen were in caucu^$ 
and we have come to make some requests and lay 
some of the women's plans before you, I am not 
speaking of my personal views alone, I speak for 
the thousands of women voters and citizens of this 
city, whom I am privileged to represent here. 
{Turning to McKee. He is all attention.) Mr. 
McKee, the women of Cheltenham want a woman 
nominated for Commissioner of Social Welfare and 
we have come to discuss a candidate whom we favor, 
with you. 



26 LITTLE MOTHER OF THE SLUMS 

Mrs. Shaw 
We think we have selected one of the best-fitted 
women of all in our city to elect to so important 
a place, Mrs. William Wetmore, the banker's wife. 
(All exchange significant looks.) 
Mrs. O'Shea 
You all know her of course? 

McKee 
Oh yes, a splendid woman. 
Garrison 
Estimable woman. No better choice could be 
made. 

Philip 
Will her husband let her accept? 

All the Ladies 
Sir!!! 

Mrs. Garrison 
Her husband wants this Fusion ticket elected and 
he knows that he needs the women's vote to elect 
it. {The men shift positions nervously.) 
Shaw 
But isn't that a pretty big job for a woman to fill? 

Mrs. O'Shea 
The job is a big one, but remember it is a capable 
woman who will fill it. One of those persons who 
is much the same kind of a female that bred so 
splendid a man as you Mr. Shaw. Something like 
the woman perhaps who reared Mr. Garrison here 
to such a pinnacle of brains and energy. A woman 
something such as I am who can bring up a boy and 
train him as I have Philip. One perhaps like the 
woman who cuddled George Washington and cra- 
dled Abraham Lincoln. One of our own good 



LITTLE MOTHER OF THE SLUMS 27 

women of Cheltenham who has ministered to the 
sick and helpless and has given the unfortunate man 
or woman a boost toward right living. 

McKee 

But ladies, {Very prompously.) Will you per- 
mit me to suggest that Commissioner of Social Wel- 
fare looks after the poor, the sick and dead, the 
schools and the amusements and morals of this city! 
Mrs. Garrison 

My dear Mr. McKee, who looks after the sick 
and poor and dying in every home in this city ! Who 
directs the education of the children. And who can 
be so well fitted as the experienced woman! 
Mrs. Shaw 

Women are in closer sympathy with all phases 
of life that make for the Social Welfare of any 
community. And if there are any duties that seem 
too hard for her, she can always call upon the men 
and appoint some of them as assistants. We look 
for no conditions that can possibly not be met by a 
woman. 

Philip 

That's all very true. But there is always a por- 
tion of life that is below the average in morals 
and in intelligence. And mother, this class is a 
vital force in this city and sad as it seems, they are 
not for the betterment of your class of women. 

McGraw 
That may all be. But we men have been ad- 
ministering and enforcing laws for those same peo- 
ple in infantile doses for several years past now, 
so the women can't possibly do worse. But the 



28 LITTLE MOTHER OF THE SLUMS 

police department will be run by men, so where's 
the danger Philip? 

Mrs. Garrison 

He was no doubt thinking of the efficiency of 
the Washington police a short time ago. The only 
thing that the men had to do with the Suffrage 
parade in Washington was a failure, and that was 
policing the city. But for the present we will leave 
the police department in the hands of our men 
citizens. 

McGraw 

Ladies, if I were in your place, I would not ! The 
women of this country gathered at Washington 
have held up the government while the Committee 
was investigating the Suffrage parade. So why 
don't you go about this right! Take the whole 
works! You can run them! 

Davy 

{Bell ringSj Davy enters more excited than be- 
fore.) Oh Marse Garrison, dey's moah ladies out 
dar! Dis heah do look bad. . . Ahs— {Layi 
down cards.) 

Garrison 

{Reads cards.) Admit them at once. {Davy 
hurries out, and Garrison leisurely moves toward 
door. Davy pushes door open and holds it to allow 
the ladies to enter.) 

ENTER MISS CHANDLER AND THE 
LITTLE MOTHER OF THE SLUMS. {Philip 
starts violently. Garrison extends his hand first to 
Miss Chandler then to The Little Mother, whose 
hand he retains and leads her farther over, turns her 
around and with a sweep of hand.) You know all 



LITTLE MOTHER OF THE SLUMS 29 

here, do you not? (She smiles and nods to all until 
her eyes meet Philip^s, a startled cry escapes her, 
and she staggers a little but Garrison slips his arm 
around to support her, hut she instantly straightens 
up shakes her whole body as if throwing off a fright- 
ful dream. As her eyes and Philip's meet he starts 
forward.) 

Philip 

Patsy ! 

Mrs. O'Shea 

{Innocently.) Ah, Little Mother, you know my 
son, Philip? 

The Little Mother 

(Passes hand over throat.) Yes, yes it was some 
time ago, I, — I have forgotten where. 

Miss Chandler 

(McGraw has been watching Philip closely, but 
comes up front as she speaks.) I thank you gentle- 
men, for this consideration, and as I notice you are 
going to the ball, I will hurry my errand. Mr. Mc- 
Kee, (She moves back of table.) we want the prom- 
ise of your candidate for mayor, that in case he is 
elected, he will create a Vice Commission for this 
city of both women and men. (Lays paper petition 
on table before him.) 

McKee 

Why Miss Chandler, we have laws to govern the 
vice and protect the virtues of this community. Why 
is there need for more officials and more salaries. 

Miss Chandler 
That is just the trouble. We have laws which 
are very explicit on social evils, but vice is rampant 



30 LITTLE MOTHER OF THE SLUMS 

and the laws are not enforced. We have officials, 
yes with salaries, but this is to be different. These 
are to work with no salaries, and instead of shutting 
themselves up in elegantly appointed offices, their 
offices shall be their homes and their places of busi- 
ness. It will be their duty to walk in the streets 
and on the highway among God's forgotten creatures 
and stick out a helping hand. No checks or pocket- 
books need be flourished, just put out a glad hand ! 

The Little Mother 
And I have come. . . . 

Shaw 
{Interrupting.) Now just from vrhere do you 
come? (McGraw is at Right center-back, he 
moves front J his looks are ferocious.) 

The Little Mother 
I — {Very quietly.) I come from the streets of 
gay laughter and bright lights and heavy hearts. 
Where women do not sleep lest they might dream 
of home, and peace and childhood days, — and then 
wake up and find it all a horrid dream. {Heads 
are inclined toward her.) 

Shaw 
What is the number, madam? 

The Little Mother 
20 1 Rainbow Avenue. {Shaw sneers.) 

Garrison 
{Very gently.) My dear young woman, had you 
printed that number on your card, I would not 
have received you. My wife and her friends are 
with me. {A tired little smile plays on the Litth 
Mother s lips.) 



LITTLE MOTHER OF THE SLUMS 31 

Mrs. Garrison 
Husband! This is my — {The Little Mother 
?notions silence.) 

The Little Mother 
I have not come to make a social call, I am here 
on very difEerent business. The work I am in, has 
no social distinction that I know of, and no card 
of introduction is needed to the houses next door to 
me. (Suppressed emotion.) But once men and 
women visit there, the way back and out is hard to 
find. One seems to grope awhile, then stumble and 
fall back! You understand me, do you not? 

Garrison 
I think I do. (The group of listeners are all 
agape with interest.) 

Shaw 
I must say, I find little pleasure in your remarks, 
and I object Mr. Chairman to giving this young 
woman permission to speak. Sir, I call it an in- 
trusion. 

{Philip and McGraw speak at same time. 
Gesticulate.) 

Philip and McGraw 
Mr, Chairman. 

McKee 
{To Little Mother.) Pardon me, madam. Pro- 
ceed Philip. 

Philip 
I desire to request that all here present, hear The 
Little Mother present her message. {McKee nods 
approval.) 

The Little Mother 
My message, which is a request, may seem as 



32 LITTLE MOTHER OF THE SLUMS 

strange as my place of residence. But I am here to 
petition you to see that the police cease their activi- 
ties in forcing the unfortunate inmates of that 
clouded district to register for the coming election. 
(A stir and a whisper from the ladies. Miss Chand- 
ler and ladies smile approval, while McGraw and 
Philip show worry, and the other gentlemen show 
anger and disapproval.) 

Garrison 
I want to advise the Little Mother that such a 
request, properly belongs to the Fire and Police 
Board of this city. It does not belong in a gathering 
of private individuals. 

Shaw 
{Showing temper.) This request is offensive and 
out of place. 

The Little Mother 

I do not hold it to be so and I have made no 

mistake in coming here. I have been to the police 

and they are anxious to win this election at any cost. 

They are not personally or vitally interested, but 

the business men of this city are. It is now up to 

you and the party and candidates whom you will 

support, to stop this crime against helpless women. 

McKee 

Those women have a right to vote if they choose. 

The Little Mother 
But they do not choose, and therein lies the crime ! 

Garrison 
How do you happen to know what those people 
wish? 

The Little Mother 
I live among them and I know them. I have 
talked with them about voting and the issues in this 



LITTLE MOTHER OF THE SLUMS 33 

campaign. — About the issues they know nothing and 
care less. They tell me they have always voted as 
the police ordered. 

McKee 

So you are the woman, who has advised those 
inmates not to register! 

The Little Mother 

I am trying to lead them to act as their con- 
science dictates. But with the police department 
ready to drag them into court on the charge of liv- 
ing disorderly lives, which they wink at the rest of 
the year, and my pleading not to vote until they 
know for what their ballot stands, — why, the poor 
things are in unnecessary distress. 

McKee 

I consider, my dear young woman, that you are 
a meddler and a mischief-maker, and you will suc- 
ceed, if you are not stopped, in driving supporters 
away from this ticket. I warn you that I shall take 
steps in the morning to have you removed to another 
section of the city. You admit you live in that sec- 
tion of the city, and it is against the law for any 
woman of leisure to be found there. I shall have 
you taken up as a vagrant! 

McGraw 

{McGraw plunges forward and with fist up- 
lifted over McKee, he is about to strike, when Mrs. 
Garrison steps between them, pushes them apart and 
holds on to McGraw. Philip rushes to the Little 
Mothers side and as Mrs. Garrison speaks, he 
places his hand on the Little Mothers arm. The 
Little Mother is not aware of his presence so near 



34 LITTLE MOTHER OF THE SLUMS 

for she is too busy shaking warning hands at Mc- 
Graw. ) 

McGraw 
Stop ! I am this young woman's protector ! And 
I stand between her and your persecution. 
Shaw 
Then who and what are you! (Tauntingly to 
the Little Mother.) 

McGraw 
(Shaking his fist at Shaw.) She is a respectable 
woman who is living with her child down in the 
bottoms. She is giving her time and strength to 
help those unfortunate women, and every man who 
is a man, respects and loves her! 
McKee 
I wonder, the Juvenile Court does not take your 
child from you, when you persist in living in that 
section! (Intense feeling.) 

Mrs. Shaw 
The courts approve of the Little Mother's work! 

Miss Chandler 
She needs no protection except from the vultures 
in respectable political parties with about as much 
heart and soul as you leaders are showing now! 

Garrison 
May I ask, Little Mother, where your husband is, 
does he approve of your work, the father of your 
child, I mean? 

The Little Mother 

(Looking straight ahead, falls a little back so that 

she leans on edge of table, looking out and off.) 

I have no husband. I claim no ties only my boy! 

He is one year old, and it was his coming, that led 



LITTLE MOTHER OF THE SLUMS 35 

me to be helpful to others. Oh, if the rest of the 
women down there, ever felt the touch of baby 
fingers and baby lips, there would be little need of 
reformers. A little unwelcome child leads me and 
I keep him near, so that I may help others. Mc- 
Graw vigilantly near the Little Mother.) 

Mrs Garrison 
Dear Heart, we knew you suffered, but we did 
not know the burden was so great. (Tries to pat 
and caress her.) 

Mrs. O'Shea 
Dear child, you are not alone. Every mother's 
heart beats in sympathy with yours. ( Wipes tear. ) 

The Little Mother 
But I must be alone, and I must work out my 
life alone. Good men like you, object to their 
wives knowing Avomen like me, who — {She falters, 
a slight struggle of breath then goes on.) Who, 
well, — God forgot me for a moment, .... 
and I transgressed the law! But I want to go on 
with my story, — it will do more to win my request 
from you than my pleading. I was once a simple 
storegirl and sold laces. I accepted sweet words 
and thoughtful little courtesies, believing they car- 
ried love and respect. I admit I liked my fair 
looks, .... then I crept away with my baby 
hugged close to my heart. {Turning to the ladies 
and trying to smile.) He is a dear, isn't he! {They 
nod and smile.) In the hospital I met another name- 
less woman who had just buried her child. She was 
nearly mad with grief and I let her cuddle my boy 
too. She came to live with us, my boy and me, 
and now she is nearly strong and well again. She 



36 LITTLE MOTHER OF THE SLUMS 

takes care of my baby while I go and tell other 
women of the light and hope that is in the world. 
Light and hope for all of God's creatures if we 
but look for it. {Closes eyes and pants.) 
McKee 

Who is the man! I should like to have the 
pleasure of changing his features! 
Garrison 

I could walk half around the world to m.eet him. 
Philip 

(Steps forward.) He is here and before you! 
(Those near draw aiuay suddenly except Mrs. 
O'Shea.) 

(Philip turns to the Little Mother.) You are 
my wife, don't be stubborn, let me protect you and 
our boy. Patsy won't you come to me? 
The Little Mother 

I am not his wife! No, Philip, the truth is the 
only salvation for me and my boy! (Mrs O'Shea 
crowds nearer, the rest drop back.) 
Mrs. O'Shea 

Little Mother, won't you listen to me. Bring 
the baby. Come to our home and let me teach 
you to love his father and to forget! Let me help 
to make amends. His father's heart may yearn too. 
Let Philip protect his child. (Much affected.) 

The Little Mother 
I cam not if I would. The day ray boy was first 
laid in my arms, I consecrated him to the service 
of humanity. Our way is far ahead and there are 
many pitfalls, and we shall need each other. 
Mrs. O'Shea 
But will not the tears of a gray-haired mother 



LITTLE MOTHER OF THE SLUMS 37 

touch your heart? {Breaks down.) 
The Little Mother 
No>, — No — , {Breathless and subdued.) My 
work is out there, in the world, where men and 
women walk in darkness and do not seek the light. 
{To Philip). You must live and grow to lead men 
to better and greater things than we have known. 
Philip 
Teach me how to do it ! Let your way be mine. 

The Little Mother 
{Drawing farther apart.) No, out there in the 
world of sin, my life and work lie in wait. Soon 
my boy and I and the nameless woman who is 
his nurse leave this city. — But gentlemen, you who 
have much, will you not sign our petition and help 
less fortunate humanity? 

Garrison 
Give me the pen. {Signs. The other men stand 
in line ready to sign. Philip alone does not move 
but at center J stretches hands to Patsy.) 
The Little Mother 
{Extends hand to Miss Chandler.) Come, let 
us go. Our work is finished here! {As she passes 
Philip he puts out his hands pleadingly.) 
Philip 
Won't you let me go with you? 

The Little Mother 
No, I can not. Perhaps in years to come, out 
there in the world of work, God's world, we shall 
meet. Shall my boy and I know you by your work? 
{She extends hand to him.) 



38 LITTLE MOTHER OF THE SLUMS 

Philip 
( Taking her hand in his he lifts it to his lips. 
Solemnly.) We shall meet out there and you will 
know me by my work. {She turns and goes out 
quickly followed by Miss Chandler . 
Mrs. O'Shea is weeping on Mrs. Garrison s 
shoulder while Mrs. Shaw is pushing Mr. Shaw up 
to sign. Philip watches Patsy go out then whirls 
and taking up pen is signing the petition when the 
curtain falls. McGraw down fronts face all smiles.) 



THE YEGGMAN 
A PLAY IN ONE ACT 



SCENE I 

A street called Via San Martino. Rome Italy. 

SCENE II 

London England. 

TIME 
Present. 



CHARACTERS 

Lady Montalto, English wife of Italian Ambas- 
sador. 

MoNSiGNOR Leone Montalto, Ambassador to 
England. 

Count Boni Casselbane, A Nobleman of 
France. 

Lucy, Lady Mantalto's maid. 

Professional burglar or "The Yeggman." 



COSTUMES 

Count Boni dressed in uniform of French officer. 
Montalto, Frock coat, gray trousers, silk hat. 
Lady Montalto, Decollette dinner-dress entrain. 
Lucy, conventional frock of lady's maid. 
Yeggman, dressed like a tramp. 

PROPERTIES 

BOUDOIR — Double window at right in rear. 
Dressing case at R. center with toilet articles and 
jewel case on it. Silver mirror and silver-cased 
bottles. At R. front a door, and a little to the rear 
and in center a long dressing mirror, with a table at 
right of it. A chair in front of mirror. At L. rear. 
Lady Montalto's bed. Left a mantel with statuary, 
nude cherubs and a Venus de Milo. Candle-sticks 
with the one nearest bed lighted as Lady Montalto 
retires. 



The Yeggman 

SCENE I 

( Three o^clock on the Via San Martino. Drop 
represents the porch and steps of a nobleman s palace. 
Enter Count Boni Casselbane walking towards the 
steps. He is met by Monsignor Montalto.) 
Montalto 
Ah, good morning Count, I see you are none the 
worse for last night's revelry. 

Count Boni 
Oh no, but damn me, man, it is hard to under- 
stand the change which has come over you since you 
married an English wife. Zounds man, I believe 
you are in love! 

Montalto 
Believe me when I confess I am. 

Count Boni 
You will soon tell me that you believe her an 
angel of virtue and a sprite of wit. 

Montalto 
An angel of virtue? You put it too mildly. She 
is more fair, virtuous, wise and constant, and less 
susceptible to evil, than any of the rarest of your 
ladies of France. 

Count Boni 
Fie, Montalto, that lady whose virtues you de- 
scribe is not now living or this gentleman's opinions 
are worthless. 

43 



44 The yeggman 

Montalto 
You speak wildly, for a gentleman who wears the 
ribbon of honor. 

Count Boni 
Why Monsignor, you will soon prefer ours of 
Paris, ha, ha, and agree with me that your lonely 
wife is now seeking pleasure with the courtiers 
about St. James. 

Montalto 
Stop! You speak of my wife! 

Count Boni 
Yes, but you led the conversation. Now to be 
honest Montalto, I was astonished at your talk 
last evening. The very idea of your absolute faith 
in womankind. Let me enlighten you. We think 
we carry our wives' affections safely in our hearts, 
but you know, strange fowl light upon neighboring 
ponds. 

Montalto 
{Angry.) Your France contains no courtier who 
could tarnish the honor of my wife! 
Count Boni 
I wager you ten thousand pounds against my 
honor — charm, that, holding a letter from you to 
your bride in England, I can bring from there that 
honor of hers which you imagine so secure. 
Montalto 
{Heated.) Were I not so sure of her honor, I 
would command you to draw and defend your- 
self, — but I take your wager. You Frenchman 
think too lightly of your women. Yet to prove to 
you how secure I feel in the possession of my lady's 
virtues, I accept the terms and will give you a letter 
to her in London. 



THE YEGGMAN 45 

Count Boni 

Good, I will meet you at the Plaza an hour 
hence. Fare thee well until then. (Count goes off.) 
Montalto 

Bah! Such business is offensive to me. How 
fine it must be to live in a country like America, 
where women are treated like goddesses and their 
virtues looked upon as part of their beauty, — to be 
admired, but never discussed. {Shrugs shoulders.) 

These Frenchmen! (Goes off.) 

SCENE II 

DROP is lifted and scene takes place in London 
in the boudoir of Lady Montalto. Her maid is 
waiting to prepare her for bed. 

(Lady Montalto in front of a desk holding a 
photograph in her hand, and maid is turning down 
bed-clothes and adjusting pillows.) 
Lady Montalto 

Six weeks to-day since his lordship sailed for 
Italy. It seems as if he were gone for ages. I 
wonder that the government should need his advice, 
and so suddenly. (Presses picture to lips, wipes 
away her tears.) 

Lucy 

Oh my lady, do not weep so, for great men are 
needed in the business of two big nations. 
Lady Montalto 

It was thoughtful of my husband to send a greet- 
ing through Count Casselbane. What a handsome 
courtier he is! 

Lucy 

Umph! I don't like him. 



46 THE YEGGMAN 

Lady Montalto 
No? Why not? 

Lucy 
Oh he stared at you, until you blushed. {Lady 
Montalto shows some displeasure at her remark.) 
Oh I beg your pardon. {Bows low.) 

Lady Montalto 
Yes but he apologized profusely for his manner. 

Lucy 
Well, but do your English gentlemen say such 
pretty things to you? 

Lady Montalto 
No-o! Still he is a dear friend of your master 
and brought me such good news from him, that I 
feel that I must forget his manners, which are those 
of a Southern Court and not like ours, and receive 
him cordially for my lord's sake. 

Lucy 

What was that he asked you to keep for him? 
Lady Montalto 

He is here to purchase a gift for His Holiness, 
the Pope, which will be placed in the Vatican, and 
since it is a gift from Royalty, its value is very great. 
So I have promised to keep the chest here in my 
chamber for safety. By the way, this is the hour of 
its arrival. Order my men to carry it here at once. 
{Lucy goes out and Lady Montalto continues speak- 
ing.) I am glad to be able to show so small a 
favor to Pope Pius and the Vatican. Our beloved 
and lamented Queen, Victoria, held his holiness in 
high esteem. {Enter Lucy and two men carrying a 
chest made of carved wood.) Place it there near 



THE YEGGMAN 47 

the dressing-case. ( The chest is set down in front 
of dresser.) 

Lucy 

Humph ! I wouldn't keep it ! Those Frenchmen 

have a bold way of demanding favors. One would 

think he was only asking an American father for 

his daughter and the spare millions of the family. 

Lady Montalto 
Ah, Lucy, you are truly unkind to the Americans. 

Lucy 

But my lady, what can those American girls see 
in a powdered and corseted prig like Count Boni 
Casselbane? Well! If they could only see my 
Samuel — 

Lady Montalto 
Hush girl ! Your tongue is wagging. But come, 
I will go to bed. {Lucy places chair before mirror 
and begins to take down Lady Montalto*s hair. 
Takes off string of puffs. Hojds them up, then lays 
them on table.) 

Lucy 
Will you have your book, my lady? 

Lady Montalto 
Thank you, yes. {Lucy brings book. She removes 
another string of puffs. Count Boni lifts lid of 
chest so that audience can recognize him. He tries 
to steal a look at Lady Montalto.) 

Lady Montalto 
You must get me another string of puffs to- 
morrow from the wig-maker's, for Lady Montague 
must not outshine me. She wore at the dinner this 
evening, three full strings, and a set of curls. 



48 THE YEGGMAN 

Lucy 

Well you shall have four then. {Takes off a 
braided switch and places it with other hair on 
table.) 

Lady MontaltQ 

I do not like the style of hair that Is worn to-day, 
I think I look best when it is like this. {Her hair 
is falling over her shoulders loosely. Lucy unfastens 
her frock and she slips off gown and petticoats. 
Count Boni lifts lid of chest. Lady Montalto is 
now dressed only in muslin skirt and undervest, 
and she gets into negligee robe of muslin and lace, 
made with low neck and short sleeves. She sits 
down again and lifts her feet for Lucy to remove 
slippers and in bedroom pumps walks to trunk.) 
Lady Montalto 

I hope no burglar meddles the chest, for it would 
embarrass me before Count Casselbane. 
Lucy 

Oh nothing can possibly happen it here. 

Lady Montalto 
{Lady Montalto in bed sitting up while Lucy is 
tucking her in. The lights on stage lower.) Leave 
the candle burning. You may go now. 

Lucy 
Good night my lady. {Goes out.) 

Lady Montalto 
Good night Lucy. ( Tapers are burning near bed. 
Lady Montalto reclining on pillows, stretches her 
hands upward.) To your protection, Oh Heavenly 
Father, I commend myself, and pray you send my 
husband safely back to me. {She sleeps. The lid 
of trunk is raised cautiously and Count Boni sits 



THE YEGGMAN 49 

up and shakes himself, looks about chamber a mo- 
ment then gets out.) 

Count Boni 
A pretty bower for so pure a maid. I could not 
reach her to-day with my prettiest speeches, but I 
can carry away enough proofs from here to con- 
vince Montalto that his bride is false to her mar- 
riage vows. And then I win ten thousand pounds. 
(Struts before mirror, pushes down corsets.) Aha! 
And now for a peep at my lady. {Goes to bed.) 
Ye Gods! She is a new blown rose in a bed of 
softest moss! But to my proofs: {He writes in 
note-book.) "Two groups of cherubs on the mantel, 
and above it a picture of a Madonna. A double 
window at rear, hung in pink satin. Pink draperies 
over her bed and a statue of the Madonna on her 
dressing-table." Ah, but the lady herself! And 
now for some marks about her person. {He goes to 
bed leans over Lady Montalto but steps away when 
he speaks so as not to awaken her.) A scar on her 
arm where the pox virus was buried. {Chuckles 
with joy. Goes to bed again.) Oh, that I might 
touch! One kiss! But one kiss! {Comes back to 
center.) One mole as large as a franc on her left 
breast. {Dances hilariously.) Hurrah! I have 
stolen the secret and will stake these proofs against 
her honor to her boastful lord. {ENTER A REAL 
BURGLAR, A REAL YEGGMAN THROUGH 
WINDOW AT REAR.) {He comes down center 
and drops his jimmy and sack on floor in front. Sees 
jewel box, stuffs it in sack. Goes to dressing table, 
picks up false hair, drops it through fright. All 
this time Count Boni is either at foot of bed gazing 



50 THE YEGGMAN 

at sleeper or leaning at her head scribbling notes. 
THE YEGGMAN goes to bureau at right, picks 
up perfume, smells it and grins, does it again. 
Slicks down his rags before mirror and squirts per- 
fume over himself again. Takes powder-puff puts 
on some pou/der turns and sees Casselbane. The 
Yeggman cautiously moves toward center and dis- 
covers what Count Boni is doing.) 
Count Boni 
One kiss can't harm! 

Yeggm.an 
{Grabbing Boni by neck, drags him down front.) 
Why you damn scoundrel! My business is white 
to yours! I steals common junk, you steals de honoi 
from women. {Count jerks away and draws sword; 
loses his note-book.) 

Count Boni 
{Haughtily.) Defend yourself, you worm of 
society ! 

Yeggman 

Ha! Ha! Worm of society! Bromide! Say 
guy, your belfry's full of crystals. He! He! 
{Draws pistol and points it at Count.) Take off 
that toy! {Meaning Bonis sword.) Put it down 
there! {Points to floor.) Now spit on it. Spit on 
it, I say! {The Count charges Yeggman but burg- 
lar puts his pistol close to Bonis head. Boni again 
drops sword.) 

Count Boni 

You scum of the earth ! Do you not know I was 
decorated with that blade for an unusual act of 
courage ? 



THE YEGGMAN 51 

Yeggman 

O-ho! You mean for doin' the Peeping-Tom 
act! Spit on it! {Kicks Count.) Or I'll decorate 
you some more. Now kiss my hand you backguard ! 
Kneel and kiss it! {Kicks Count again.) Take 
honor when it's offered you, you dog! {Yeggman 
in lofty pose.) I am the King of Midnight Prow- 
lers, and I permit you to touch my elegant gar- 
ments. O-he, O-ho! and to kiss my pink fingers. 
{Count scrambles on knees and kisses his fingers, 
Yeggman howls with laughter.) Now tell me, 
how'd you come here! {Yells.) Tell me how you 
came here! {Lady Montalto sits up and rubs eyes.) 
Chin up you damn skunk! 

Lady Montalto 

{Screaming wildly.) Lucy! Oh Lucy! {She 
springs out of bed. Lucy rushes in, dressed in 
night attire, braids of hair sticking up straight, and 
zv earing a short wide night-robe. Yeggman grins 
at her.) 

Yeggman 

Don't be skeered good lady, I won't harm you, 
but I can't speak for dis oder guy. {He sees Lucy 
and laughs uproaringly again.) 

Lady Montalto 

{Aghast.) Count Casselbane! 

Yeggm.an 
I came in here after junk, but I found this sneak- 
ing dog, bending over you in your nest there, and I 
was just going to trim him down to my size, when 
you rounded-to out of your trance. 

Lucy 
{Lady Montalto picture of horror.) There my 



52 THE YEGGMAN 

lady, what did I tell yer! (She goes over to Cotmt 
and pushes him roughly.) 

Count Boni 
Your Ladyship, permit me to explain. I saw this 
thief enter your apartment through the rear window 
and I followed him to protect your highness. 

Yeggman 

(Shouts with laughter.) Him to protect you, 
Lady! (To Count.) You're snowy. Take an- 
other squirt, you've got 'em bad! (Goes to chest.) 
Umph ! You Devil's Son ! Came to protect a lady. 
Here's his coat in this chest, (Burglar puts on the 
Count's velvet cape. Lady Montalto picks up the 
Count's note-book.) Reads: 

Lady Montalto 

"A mole as large as a franc on her left — b-r- 
e-a-s-t. (She clasps her hands to her bosom j stifles 
a moan then looks at cover of book and screams.) 
His name! Oh you perfidious dog! Protect me, 
ragman, who ever you are. (Goes to side of bur- 
glar, he makes a comedy scene out of his preferment 
over the Count.) 

Lady Montalto 

Lucy, call the police. (Lucy rushes to open win- 
dow.) Help! Police! (The Count tries to rush 
past the Yeggman but is covered by Yeggman s 
gun.) ' 

Yeggman 

I sees where we bunk together to-night, old pal. 
Count Boni 

Old pal, how dare you! 

(Police are heard, bells and go?igs ring.) 



THE YEGGMAN 53 

Lady Montalto 
(Rushes to window.) Police! Help! Help! 
(Loud noise outside^ police pound door. Lucy is 
trying to unlock it.) Here Yeggman, go. (Points 
to window and as he passes her she hands him her 
purse.) Here are twenty pounds, save yourself. 
(He grimaces at Lucy, shakes fist at Count.) 

Yeggman 

Dont' you ever attempt to intrude your mug 
into my society again! (Grand stride and pose.) 
(Police rush in at door. Lady Montalto points to 
Count and the sack and jimmy, the sack with her 
jewel-box. They hurry the Count off.) 
Count Boni 

(Fighting furiously.) I am a subject of France 
and of noble family. You shall pay dearly for this! 
(Yeggman is getting out of window at rear, throw- 
ing kisses at Lucy, who returns them, at the same 
time he rejoices at the Count's predicament. Lady 
Montalto has followed the police and Count to door 
at R. and stands with arms folded and throws 
haughty glances at the Count as he is dragged out. 
Yeggman gathering Lucy's kisses in.) 

Lady Montalto 
In an iron cell, officer, remember. 
CURTAIN 



DUPED 
A PLAY IN ONE ACT 



TIME 

Present, 

PLACE 
The palatial residence of Mrs. Ormsby Plunkett, 
New York City. 

SCENE 
Library of residence. Eight o'clock in the evening. 



CHARACTERS 

Mrs. Ormsby Plunkett, an arrived social lead- 
er in New York's "Four Hundred" but whose 
finances have suffered of late. 

Miss Geraldine Plunkett, the daughter, just 
out, and whose mother has placed her upon the 
matrimonial market. 

Tom Plunkett, brother to Geraldine and an up- 
per classman at Yale. 

Billy Nevins, a classmate of Tom's and an all 
around athlete, who is secretly engaged to Geraldine. 

Butler. 

AND 

Toby Barnett, the "funny man" from the Ameri- 
can Music Hall, who assists the young people out 
of a most distressing situation. 



PROPERTIES 

Furniture of a library. A whiskey decanter, box 
of cigarettes J a cloth covering for piano, a cut glass 
vase, Venetian vase, a statue of Flying Victory and 
American Beauty Roses. 

COSTUMES 

Geraldine is in a modish frock for a "bud." 
Mrs. Plunkett in elegant evening gown of white 

and blue. She wears rich jewels and carries a fan. 

Tom and Billy in evening clothes and Toby in a 

ridiculous costume from the theater. 



Duped 



DISCOVERED 

Tom and Geraldine. 
( Geraldine speaks. ) 

Geraldine 
But Tom, mother is determined that I shall 
marry Lancelot Bergamo. Oh you must help me. 
What shall I do! {Sobs in her voice.) 
Tom 
Well it's a shame, sis. An outrage ! But haven't 
you told mother what a freak he is? 

Geraldine 

Everything. But Lancelot's mother is ace-high 
at Newport and Palm Beach and has fixed it all up 
with mother. And mother has found out that he 
receives millions on his wedding day, so that settled 
it. 

Tom 

But sis, have you told mother what villainous 
habits he has and how he was cut out by all our fel- 
lows at Yale for his dippy ways ? 

Geraldine 
She is immovable, for she claims we need his 
money, and that I ought to be willing to overlook 
his squint, his atrocious bow-legs and his abominable 
manners. Oh Tom, and to think how I love Billy 
Nevins! {Bursts into tears.) I can't endure the 
thought of it. I'll die a slow death. I'll — {Sobs 
anew.) I'll grow haggard and thin and ugly if I 
59 



6o DUPED 

have to marry that monkey Lancelot. Oh it's dread- 
ful to think about! {Throws herself on lounge 
and weeps violently.) 

Tom 

Well if mother could only meet him once, she'd 
change her mind. {He busies himself at left with 
bric-a-brac J then comes down front, thoughtfully.) 
Geraldine 

{Shakes her head disconsolately.) No, she 
wouldn't, she says she doesn't care if he has wooden- 
legs, a glass eye, a stammer in his speech, I have got 
to marry Lancelot Bergamo! 

Tom 
And Billy Nevins ! The finest chap in these dig- 
gings, head over ears in love with you, — to be pushed 
aside for this Lancelot Bergamo. But Geraldine, 
Billy has wealth too. In fact he is reputed to be 
heir to great riches, only he don't go around holler- 
ing about it, and doesn't change his clothes ten 
times a day. His dad is the millionaire copper king 
of Arizona, and Billy is the real stuff! Sis, we've 
got to win out in this. I wouldn't have Billy 
Nevins lose you for worlds. Let's see; you say 
mother has never met Lancelot. 

Geraldine 
No, she has taken his mother's recommendation 
and says, "looks may go to Dublin," it's money she 
is looking for. 

Tom 
I have it! Let's introduce a proxy as Lancelot 
to mother. It's a mean trick on Lancy, but all's 
fair in love and war. 



DUPED 6i 

Geraldine 

{Excited.) Oh Tom tell me. Hurry! What 
do you mean! {She is at center, all excitement.) 
Tom 

Well there's a fellow down at the American 
Music Hall who is a cracker-jack and I was struck 
by his likeness to Lancelot when I saw his act. 
I'll get him to come up here and meet mother. {8he 
looks confused.) Now wait. I'll instruct him to 
make an all-around fake and freak of himself, and 
mother will be so disgusted with the stunts I'll 
give him, that she'll order the butler to turn him 
out. Ha! Ha! Poor mother. But Billy Nevins is 
a prince of fellows and I must have him for a 
brother-in-law. 

Geraldine 

Oh you darling. {Gives Tom a hug.) Tom, 
here's mother. Go. 

Tom 

Now your instructions. — Fill the whiskey de- 
canter and leave it with plenty of cigarettes on the 
table here. I'll have Toby Barnett here in a jifify. 
Keep up courage sis, and smile. So long. {Exit 
Tom.) 

Geraldine 

{Rushes to door of book-case, takes out decanter 
of whiskey, places box of cigarettes on table by 
decanter.) There, you friends or foes! Do your 
worst or bestj {A voice is heard calling from 
without.) 

Mrs. Plunkett 

{From without.) Geraldine! Geraldine! 

{Enter Mrs. Plunkett.) Ah here you are. 



62 DUPED 

Geraldtne 
Yes mother dear. 

Mrs. Plunkett 

{In lofty mood.) Have you quite composed 
yourself in making ready to meet Lancelot, your 
future husband? {Looks at her daughter thru 
lorgnette. ) 

Geraldine 

Oh mother, won't you listen to me? Lancelot 
Bergamo has not millions enough to make the name 
of Plunkett accept his eccentricities. Why, my 
ancestors will all turn in their graves should they 
ever learn of my perfidy in selling the name for 
paltry gold. And that, — the coin of a fisherman's 
son! 

Mrs. Plunkett 

My dear Geraldine, if this alliance were not a 
certainty, your father would be beggared to-morrow 
morning. Then too, your father was a well-dig- 
ger's son, and it was my natne and family that got 
us a foothold here in New York. 

Geraldine 
Well father has been able to float us here on a 
scandalously extravagant scale since then, hasn't he, 
mother ? 

Mrs. Plunkett 
Yes, but hush! I had to have a private ceremony 
when I married your father, because your father 
had only one suit of clothes and that a sack coat. 
Oh, don't remind me of those awful days. {She 
shudders.) 

Geraldine 
Well dad says those were his happiest days! 



DUPED 63 

Mrs. Plunkett 

Hush child. Don't run on so. Your father never 
has thrown ofE his plebian tastes. It has been one of 
my greatest secret sorrows, his aversion to evening 
clothes and opera. {She sniffs.) 
Geraldine 

Hurray for father! His keenness sees thru 
most shams! And if he were consulted about my 
marriage he would quickly see the terrible dis- 
parity in worth, between Lancelot and Billy Nevins ! 
Why isn't father consulted? 

Mrs. Plunkett 

Because I intend to see you well settled, with 
plenty of money and I want this Nevins banished 
from your mind! Why he is a Westerner and no 
doubt his hardfisted father will insist on his begin- 
ning where he did, — digging in a mine! (Geraldine 
attempts to speak.) Listen. I should not be sur- 
prised if the Nevins Pere would expect you to live on 
a paltry fifteen thousand a year. Then what would 
run this place and Whitehall at Newport? 

Geraldine 
{Haughtily.) I still have faith in my father's 
ability. But mother, I do not love Lancelot, I — I — 

Mrs. Plunkett 
{Whirls up stage.) Oh, that doesn't count, love 
is old fashioned, and a thing that can be cultivated 
at any time, once you are married and your social 
position is secured. {Comes back.) No girl, with 
proper forbears, marries for love nowadays. It's 
too much drudgery. It means in the end a surren- 
der of social existence and encourages large families, 
which are terribly vulgar. I shall see to it that you 



64 DUPED 

shall be no martyr to your abominable democratic 
views. (Sadly.) But you get those from your 
father. (Wipes tears angrily.) Get rid of them at 
once. By the way, while there are a few minutes 
left, let us discuss the trip to Paris for your 
trousseau. 

Geraldine 
(Bursting into tears.) But mother I love Billy 
Nevins better than my life. I can't marry Lancelot. 
Don't you understand? 

Mrs. Plunkett 

(In high rage and an expression of iron.) 
I want no scene. (Calmly.) I will not hear of 
your throwing yourself away on a young 
man with only a million to begin with! We 
need money, and we need it badly, I see no way 
to recoup our finances except this marriage of yours 
to Lancelot. I will not retrench. I have told your 
father, I would not give up the home here and 
the horses and motors and live in seclusion. I would 
die first. No! Lancelot gets six millions on his 
wedding day to use as he sees fit. Marrying a 
handsome girl like you, he no doubt, will give you 
unbridled entrance to his purse. In fact, I expect 
you to secure that comfort for yourself and me. 
Geraldine 

(Hands outstretched toward mother, imploring.) 
Mother, don't you remember how happy you were 
with father when he was poor? And I shall not be 
poor! Billy has everything to offer me, honor, 
health, good looks, courage and plenty of wealth for 
both of us, if you will only be reasonable. Mother, 
won't you consider my feelings a little. (She has 



DUPED 65 

slipped off the sofa to the floor and is sobbing, her 
face hidden in her folded arms.) 
Mrs. Plunkett 

{In lofty pose.) I have made up my mind! 
Your sentimental scruples shall not be considered. 
I shall urge an early marriage too, and mind you do 
not oppose it. {The bell rings.) Kere is Lancelot 
now : I expect you to show your appreciation of the 
honor he does you. If you could only know how I 
have cuddled his disagreeable old mother. {Shud- 
ders.) She is as ugly as a horned toad. — But I 
prefer toads in mansions to graceful leopards in 
cottages. Get up, I say. 

Geraldine 

Mother, I — I — {Rises, sobbing and wiping her 
eyes. ) 

{Enter butler.) 

Butler 

Mr. Lancelot Bergamo. {Enter Toby Barnett. 
He has a speck of a cap on the back of his head 
which he forgets to remove. He is attired in loud 
plaid trousers, frock coat of ancient cut, red vest 
with white buttons and a loud cane. He advances 
on wobbly legs, wearing a broad grin. Makes a 
low bow.) Ah, my dear Mrs. Plunkett, how do 
you do ? 

Mrs. Plunkett 

My dear Mr. Bergamo, I am delighted to meet 
5'^ou. Geraldine tell Mr. Bergamo of your pleasure 
too. ( Geraldine is convulsed at the funny sight 
zvhich Toby ?nakes and his jolly take-off. She re- 
covers herself and gives her hand coldly to Toby.) 



66 DUPED 

Toby 

Yes, yes, my dear Mrs. Plunkett, I've been hav- 
ing a deucedly jolly time. {He giggles much.) 
I have called on so many nice girls to-day, I really 
can't decide which I like the best! {Mrs. Plunkett 
looks surprised.) But I tried to leave the best for 
the last. 

Mrs. Plunkett 

Yes, your mother advised me that you both had 
considered my daughter seriously, and I expected 
you to-day. 

Toby 

Quite right, — but you see it's not so hard to 
decide upon the one I want as it is to break away 
from all the other girls. {He giggles and grins 
foolishly, sees decanter of whiskey, slips over, empties 
two glasses, smacks lips.) Fine brand. Shall we 
keep King William in our home dearest? {Ad- 
dresses Geraldine. He begins to blink his eyes and 
takes another glass and goes close to Mrs. Plunkett, 
who can scarcely conceal her surprise. In fact is 
wide-eyed with astonishment.) "A little of the hair 
of the dog" as they say in the West. {Puts glass 
down shakingly, takes a cigarette, lights a match 
on his trouser-seat.) Permit me. {To Mrs. Plun- 
kett, who is almost breathless with chagrin.) Oh 
I've had such a good time to-day, — the girls {Snick- 
ers sillily.) the girls {Shakes himself and coyly 
chuckles.) were so good to me! {Hic-coughs.) 
{Sits.) I like Afternoon Tea hugely when served 
by a bewitching wench. {Chuckles again.) I 
certainly have a nice bunch of girl friends, Mrs. 
Plunkett, but your daughter — 



DUPED 67 

Mrs. Plunkett 
Oh yes, let us do business. Now as I under- 
stand from your mother, you desire to marry my 
daughter Geraldine, 

Toby 

(Gets up, staggers toward Geraldine but the 

mother wishing to avoid farriiliarity steps between 

them. Toby staggers.) Yep. Just as soon that 

it be Geraldine as any of the girls. (Hic-coughs.) 

(Enter Tom.) 

To?n 
Hello Lancelot. Ah you heartbreaker, making 
more conquests. 

Toby 
Well you see, I get 'em coming and going. The 
girls can't resist my charms. (Laughs foolishly.) 
I'm just getting acquainted with the folks. 
Tom 
I am delighted to have you know my mother. 
Have you had a little of father's favorite brand? 

Toby 
Don't care if I do! (Tom pours out glasses. 
They toast and drink.) 

Tom 
To all fair women. God bless them. 

Toby 
To Virgie, — and Mamie, — and Tootsie! — The 
little heartbreakers I met to-day. Long life and 
happiness. 

Mrs. Plunkett 
(Not concealing her scorn and showing great 
distress.) And now Mr. Bergamo, how much 
money do you get on your wedding day? (Coughs.) 



68 DUPED 

Of course you must realize my daughter has been 
accustomed to wealth and luxury and she must be 
assured all she has enjoyed in her father's home. 
Toby 

{Going nearer Mrs. Plunkett he slaps her famil- 
iarly on the arm.) Oh never mind old girl, I get 
enough, but we won't want much. You see I 
prefer the simple life and two thousand a year will 
cover that, won't it Gerry? {He makes ineffectual 
attempts to get his cigarette back into his mouth, 
and Mrs. Plunkett dashes in confusion to other 
side of room, wringing her hands wretchedly, Ger- 
aldine goes to her mothers side while Toby goes 
to Tom and in aside asks: 
Toby 

How far do I go? 

To?n 

{Aside also.) Go the limit. You're doing fine. 
It's having its effect. 

Mrs. Plunkett 

{Comes back center.) But my dear Mr. Ber- 
gamo, you don't for a moment think Mr. Plunkett 
or I could let Geraldine marry a man of small in- 
come. Your mother led me to believe that you re- 
ceived six millions on your wedding day, and five 
millions more at her death. 
Toby 

{Taking another drink.) Well 3^ou see I've come 
to the conclusion that the white race has more than 
is coming to it so I'm going to make John D. 
Rockefeller's charity look like petty larceny, and 
devote my millions, — not to the hookworm, but to 
my ancestors, the anthropoid ape. {Mrs. Plunkett 



DUPED 69 

shows faintness and fans herself vigorously.) Now 
I am convinced that a little money and the milk of 
human kindness would do a world of good for our 
ancestors, the ape family. 

Mrs. Plunkett 

(Bursting with rage.) Our ancestors! (She 
sneers.) You mean yours! (Tom and Geraldine 
cant conceal their amusement.) 
Toby 

No! No, I don't! I mean ours. Now I see a 
great resemblance between you and me and the 
anthropoid ape. And I see a world of tenderness 
in Gerry {Mrs. Plunkett choking with rage.) which 
will assist me in my work among our brothers, the 
neglected race of apes. 

Mrs. Plunkett 

Sir! Yours plans are preposterous and I am not 
in sympathy with them, neither is my daughter 
Geraldine. {She is at center, furious.) 
Toby 

{Going toward Geraldine but the indignant moth- 
er intercepts him and she receives Toby's embrace 
in terror.) 'Scuse me. I meant to favor the young 
lady. ( Tom is convulsed but he and Geraldine 
keep up the play.) 

Mrs. Plunkett 

{Looking helpless at Tom.) Of course Geraldine 
has plenty of time. She is young and I'll take up 
the matter with you and your mother, perhaps in 
a few days agafn. We'll leave it now. {Significant 
smile of hope on Tom and Geraldine' s faces.) 
Toby 

No, must know now. You see I'm anxious to 
begin my work with the apes, poor things, they need 



70 DUPED 

the attention of a pure creature like Geraldine. {He 
attempts to sit on piano stool, loses his balance, afid 
in his frantic endeavor to recover his equilibrium, 
he grasps the piano covering, which has upon it a 
cut-glass vase and a Venetian vase and a Winged 
Victory in White Carrara marble. By catching 
hold of cloth he brings the vase of flowers down on 
himself and dripping with water after balancing on 
stool, feet in air, he lands a sorry heap on the floor. 
Mrs. Plunkett and Geraldine scream and rush and 
seize the vase and statue, while Tom is bent with 
laughter up right front. Before Toby gets his feet, 
the Butler enters.) 

Butler 

Mr. Billy Nevins. 

Mrs. Plunkett 

{Effusively.) Show him in at once. {Tom is 
helping Toby to his feet and Geraldine goes for- 
ward with mother to greet Billy. Tom and Toby 
embrace.) My dear Mr. Nevins, I am so delighted 
to see you. Geraldine has unbosomed her secret 
and I ofEer you, my dear, a mother's blessing. {She 
plants a kiss on Billy's brow. Tom and Toby are 
all smiles.) 

Mrs. Plunkett 

Ah Mr. Bergamo, let me present Mr. Nevins. 
{Billy is about to give the whole thing away for 
he knows the real Lancelot, — when Tom attracts 
his attention from behind his mother, cautioning 
Billy to keep silence. Billy merely grins and ac- 
knowledges the introduction.) This is my daugh- 
ter's fiancee. He has tastes only for the humans, so 
I fear Mr. Bergamo, you must uplift the apes, your 
brothers, alone! 



Duped 71 

Toby 
No indeed madam, I expect a whole bevy of girls 
to embrace the privilege. It's so awkward to love' 
money. 

Mrs. Phinkett 
Tom, show Mr. Bergamo to his car, and order 
my run-a-bout, for I want you to look in at the 
Metropolitan with me for the third act of Lohengrin. 
Toby 
{Radiant with smiles.) Good-night Miss Plun- 
kett, I wish you both much happiness. {He shakes 
hands with Billy, winks knowingly and goes up to 
Mrs. Plunkett who haughtily turns away and up 
stage. ) 

( Tom and Toby go out arm. in arm U'hile the 
lovers are smiling and talking.) 
Billy 
{Goes to Mrs. Plunkett.) Really Mrs. Plunkett, 
I am almost speechless with joy. I came here de- 
spondent of success for I feared you did not favor 
my suit, but now I can only ask you to fill my cup 
of bliss and name an early wedding day. 
Mrs. Plunkett 
My dear boy, my only thought is my child's com- 
plete happiness, and now while Tom and I look in 
at the opera, I shall leave you and Geraldine to 
decide the matter for yourselves. {Exit Mrs. Plun- 
kett.) 

Geraldine 
Billy! {Rushes into Billy's outstretched arms.) 

Billy 
Make it next month. {Butler enters unseen, he 



72 Duped 

coughs but cant attract them from their embrace, 
then in a loud tone he announces significantly.) 
Butler 
Mr. Lancelot Bergamo! 

Geraldine 
(Stops kissing Billy long enough to say.) Tell 
him Miss Plunkett is engaged! 

CURTAIN 



MY FRIEND'S IN TOWN 
A PLAY IN ONE ACT 



SCENE 



Library in fashionable apartment. Book shelves; 
in center a desk with books on it. Telephone on 
library table. Sofa down in front at right. A 
door in rear at left. Window in center at rear. 
Book-case on left. Chairs, cushions, etc. 



CHARACTERS 

Mortimer Harcourt. 
SusANNE Harcourt, {his wife.) 



TIME 

Evening. 

COSTUME 
Both dressed for opera. 



My Friend's in Town 

Curtain as Harcourt enters. 
Har court 

Well if this isn't a pretty mess ! To think my old 
friend Billy Farnham, should come back to town 
when I am tied up with an opera engagement with 
my wife. {Lights cigar.) Why, I was so glad to 
see the old chap, confound the luck, I forgot all 
about the opera and promised to make up a poker 
game with two more New Haven fellows at the 
Savoy to-night! Beastly mess! Farnham is one of 
the cleaverest chaps, but there's my wife! She'll 
cry her pretty eyes out, bless her heart, if I break 
my promise. Hang it all ! How shall I get out of 
this? Confound the luck. {Goes to table.) Hello, 
what's this she's reading? {Opens book and shows 
astonishment.) Umph! Underlined! "Vitality in 
a woman is a blind fury of pro-creation!" Well, 
this is interesting! {Looks at title of book. Reads:) 
"The Sense of the Beautiful." Well I like that! 
It scents something all right, — smells bad! {Seated 
on table sings.) 

"Whoever has married a minion wife. 
Has had a good chance and hap. 
Must love and cherish her all his life. 
And dandle her in his lap. 

If she will fare well, if she will go gay, 
A good husband ever still. 
Whatever she wishes to do or to say, 
Must let her have her own will, 
77 



78 MY FRIEND'S IN TOWN 

About what affairs, wherever you go, 
You must show her all your mind. 
More of your counsel she may not know 
Else as a man you're unkind!" 

(Picks up another book and reads.) "A self- 
sacrificing woman is so kind in little things. A 
man is nothing to her but an instrument of her 
purpose." Great Scott! Where did my wife get 
that book? {Looks at title, reads:) "Maxim 
Gorky." Why, she'll be interlining Mrs. War- 
ren's Profession next! {Picks up another book.) 
"A man in love walks straighter and dresses bet- 
ter." Well, who is she studying now? {Puts down 
book.) Is it me or the other fellow? {Struts about, 
looking at himself.) {Sings.) "I have a hunch, 
etc." 

Enter Mrs. Harcourt. 

I have it. {Puts on severe air.) 
Susanne 

Ah, there you are, sweetheart. 
Alar timer 

Am I the fellow {Savagely.) who walks straight- 
er because I'm in love? 

Susanne 

(Puzzled.) Why dearest — 
Mortimer 

(Yells.) Who is this man that dresses better 
because you're in love with him? 

Susanne 
( Gasps. ) Mortimer ! 

Mortimer 
(Yelling louder.) Mrs. Harcourt!! 



MY FRIEND'S IN TOWN 79 

(She gets on the other side of table as if afraid 
of him, he dashes after her, catches her by wrist and 
hauls her over to the table where he points to books.) 

Madame, explain your conduct by reading — tell 
me-e! 

Susanne 

{Breaks away, stammers under breath.) My 
God, he's crazy. {Takes refuge behind sofa.) Mor- 
timer dear, listen. I was studying the artistic, the — 

Mortimer 

{Dashes after her, she runs around table.) Study- 
ing how woman's vitality is more intense than man's ! 
Woman, this is shameful! 

{She is now weeping.) 

You're not fit to be near our child. 

{She screams.) 

I shall protect him against contamination with 
the reader of Maxim Gorky, et cetera! B-r-r-rh! 
{Points to book on table where he has seated him- 
self.) 

Susanne 

{Pleading, crying.) Mortimer, hear me. {Com- 
ing toward him gingerly, for she thinks he is out 
of his mind.) I — I — boo-hoo — I can explain — 

Mortimer 
Explain nothing, you are lost to me! {Grand 
pose.) 

Susanne 
{Crying hysterically.) 
{He is puzzled as to how his scheme is working.) 

Mortimer 
(Aside.) Works fine! 



8o MY FRIEND'S IN TOWN 

Susanne 
(She springs up to dry her tears.) You are a 
cruel brute, and I shall go home to my mother and 
take Mortimer, Jr., with me! 

Mortimer 

{Realizing the jig is up, goes to her and at- 
tempts to embrace her.) Take me too. Forgive me 
darling. 

{She rushes into his arms, he wipes her tears 
away and fusses over her. She snuggles up coquet- 
tishly.) 

Great Scott! dear, you looked just like you did 
that night long ago when we had that quiet little 
supper at Mowbray's! 

{She looks surprised.) Don't say no, yes, yes 
you do. {Rubs his hands and chuckles in extreme 
delight as he recalls that evening.) What a bird 
and cold bottle that was and how gay and sweet 
you were! 

Susanne 
{Opens mouth as if to speak, thinks.) I? {Looks 
puzzled.) 

Mortimer 

Oh, yes, {Rushing on.) you were glorious! 

{She is wide-eyed, still waiting in amazement.) 

{He embraces her vigorously.) 

How you cavorted and capered about! {He 
dances a little bit of ballet to show her how she 
did on that night.) I took you like this: {Picks 
her up and puts her on the table, while she is dumb 
with amazement.) Give me the step again, sweet- 
heart ! 



MY FRIEND'S IN TOWN 8i 

Susanne 
{Jumps down and shrieks.) You deceiver! O 
Oh-o— h! 

Mortimer 
{Aside.) What a damnable break. 'Twas the 
girl Estelle! 

Susanne 
You brute, I hate — I hate you. {Stamps her 
foot and cries violently.) 

Mortimer 
{Very, very much confused. Gibbers and stam- 
mers , rubbing his hands in nervous fear.) Just a 
little joke Susanne, — a-yes, a josh — a — 
Susanne 
Don't speak to me {Falls into chair.) I am 
broken-hearted. {She springs up.) I shall go home 
to my father and he'll — 

Mortimer 
Darling, it was fun, — I — fun ! Oh see here, little 
one, you're all the world to me, my sun, comet and 
old Mars himself. Forgive my — {She still waves 
him. away from her.) 

Mortimer 

{Aside.) Worse and worse. How shall I get 
to that card game? Forgive me, Susanne! I'm a 
brute I know! 

{She rushes into his arms. While she is still 
in his arms, he groans in great agony.) 

Oh-o-oh! Oh my head! 

Susanne 
{Alarmed.) Why what is it? Oh, let me do 
something! 

{Both moaning.) 



82 MY FRIEND'S IN TOWN 

Mortimer 
Oh! Oh, oh! my head. 
{She assists him to sofa.) 

Susanne 

Lie down dear until I see what I can do for you. 

{He falls on sofa and groans louder, his face 
awry.) 

Oh dearest what shall I do, what shall I do? 
{Gets smelling- salts and fans him.) Let me see; 
what is good for a pain in the head? I have it! 
Mamma used to say a mustard plaster. 

{He starts up in awful dread of the remedy.) 

Yes, I'm sure. There dear, lie quiet while I 
get a plaster from the kitchen. 

{She helps him out of his evening coat and fetches 
lounging robe from room at left.) 

{While she is out he attempts to phone Billy 
Farnham.) 

Mortimer 

Before the plaster gets in its work I had better 
phone Bill ! 

{Enter Susanne. He dives for sofa, she almost 
catches his deception.) 

Susanne 

Any better? 

Mortimer 

I — oh, yes, Oh I am terrible — terrible still. 

Susanne 
{Picks up his coat and box of poker chips fall 
out.) Mortimer,- where did these come from? 

Mortimer 
I took them from the baby in the yard. {In 
great pain.) 



MY FRIEND'S IN TOWN 83 

Susanne 

{Puts them on the table and helps him into his 
robe.) 

I will get the mustard plaster, keep very quiet 
darling. {Exit L.) 

Mortimer 

{Rushes to telephone.) Hello, give me 172. Yes, 
hello, that you Farnham? Yes. Waiting! So am 
I. No, an opera stunt! Yes. — Excuse myself? — 
Oh shake down Billy — it's my wife. Come, now 
don't talk like a web-footed Rube! Hang it! Aw- 
fully cut up over it. Oh yes, ha! ha! You bet 
I'll be there in twenty minutes, {Hears Susanne 
outside.) Now for the plaster, {He dives for the 
sofa, showing terrible suffering.) 
Susanne 

{Enters with two great mustard plasters.) There 
now. {She ties one on his forehead.) Take off 
your collar. I must put one on your neck. 

{He looks in great terror, but tears off collar 
and loosens shirt and she ties the plaster on his neck. 
He settles into the cushions.) 

{She turns away to table.) 
Mortimer 

{Howling from real pain now.) Oh! Oh! 
{Tears off plaster from forehead, flings it away, 
tears around room. Then feels the other one burn- 
ing on his neck — attempts to get it off and it slips 
down on his back. He yells and kicks over chairs 
in his mad flight around the room.) 

{Susanne runs excitedly after him.) 

Reach it! Reach it Susanne! {Tears at plaster 
dowtt his back. Feels his leg fearing it will slip 



84 MY FRIEND'S IN TOWN 

farther J, — all the time running and struggling. 
Finally rolls on the floor.) 

{Susanne catches him as he rolls around.) 

Susanne 
Let me darling. I can get the — the — brute ! 
(Both moaning. She assists him to sofa.) 

Mortimer 
{Turns fiercely.) Whoever said mustard was 
good for a pain in the head ? 
Susanne 
{Meekly.) My mother. 

Mortimer 
Well, she's a lemon! Why she could put Jim 
Jeffries in his corner with three like them! Why 
she ought to be strung up! {Feeling of his back.) 
D — m fool! Idiot. 

Susanne 
{Begins to cry.) Boo-hoo — to think you would 
say such things about my mother! OH! I can't 
endure it! 

Mortimer 
Come dear, I was rash, my head is so bad — 
forgive me. There's the sweetest little girl! {Kisses 
her — still keeps up the feigned sickness.) 
Susanne 
I presume I am cruel to you dear, — boo-hoo. And 
5^ou suffer so. {Sobs.) Oh, I hope you'll be better 
soon ! ( Wipes tears. ) Can I do anything to make 
you feel more comfortable? 

Mortimer 
Yes, give me a step. 

Susanne 
{Does a fancy dance.) Oh Mortimer, you re- 



MY FRIEND'S IN TOWN 85 

member we were to take Jane with us to-night. 

{He does more funny stunts in the feigned sick- 
ness. ) 

Mortimer 
Oh Susanne, I can't go, I feel awful! 

Susanne 
Well, I will call Jane up and — 

Mortimer 
— and tell her you will go. 
Susanne 
And you so ill ? I couldn't think of it a moment. 
Leave you — I — 

Mortimer 
(Excited J fearing she won't go.) Oh, I wouldn't 
think for a moment of letting you stay at home. 

Susanne 
But I can't feel right about going and — 

Mortimer 
Nonsense! I am all right (Capers, then recovers 
his role.) t-th-that is, or I — I am, better! Now 
don't be foolish. Don't let a little thing like that 
upset your plans. I will lie on the sofa quite com- 
fortable. (Aside.) I won't say how long! 

Susanne 

Well I will call Jane. (Goes to telephone.) 

(He shows great joy.) 

(She turns.) 

Do you think I ought to leave you? 

(He waves- aside her soliciation.) 

Hello! 4120 please. Yes. This you Jane? 
Yes, this is Susanne. Oh Jane, Mortimer is so 
sick — well I mean quite sick; I am sorry — 

(He starts.) 



86 MY FRIEND'S IN TOWN 

— but he will stay at home and I will call for 
you. No, I think he's some better. Oh, I was so 
frightened yes, I nearly died, Oh sure — he is better, 
aren't you dear? {Nearly catches his by-play.) 
I will drive over for you at once. 
Mortimer 

Here, jump intO' your cloak, it is getting late. 
Susanne 

But my dear, you must not exert, — ^let me fix 
you on the sofa. Oh yes, you must. There. Here 
are the salts, the brandy, now do be very quiet. 
{Bids him good bye.) 

Mortimer 

Pleasant time little one. 

{She throws kisses, goes out and taking key from 
the inside of door, locks it from outside.) 

{He springs up, grabs box of dice and throws 
them chuckling and singing:) Seven, come eleven! 
Four, eleven, forty-four. 

SINGS! "LOVINGLY TO AGREE," ETC. 

"A thing very fit. 
For them that have wit 
And are fellows knit, 
Lovers in one house to be. 
Is fast for to sit. 
And not oft to flit. 
Nor vary a whit. 
But lovingly to agree. 

No man complaining. 
No other disdaining. 
For loss or for gaining, 



My FRIEND'S IN TOWN 87 

But lovers or fellows to be. 
No grudge remaining, 
No work refraining, 
Nor help restraining 
But lovingly to agree. 

No man for despite, 
By word or by right, 
His fellows to write. 
But further in honesty. 
No good turns to fight, 
Nor old sores recite. 
But let all go quite, 
And lovingly to agree." 

Tee-e-de-de-tiddle de a dum! {Whistles glee- 
fullyj gets on overcoat and hat, tries door and finds 
it locked.) 

Well, this is hell! 

(Looks around confused a moment, then his face 
brightens. ) 

The Fire Alarm! {He rushes and turns in the 
alarm, and in a moment a fireman hoists a ladder 
up to the rear window and comes dashing in carry- 
ing a hose, while another breaks in the door.) 
Mortimer 

{Very excited.) There! There! {Pointing to 
the corner.) 

{Firemen rush there.) 

{Harcourt gets out of window and as he goes 
down the ladder he holds up a pack of cards, show- 
ing the ace and jack.) 

{Firemen still looking wildly for fire.) 
CURTAIN 



THE MYSTERY OF BEACON HILL 
A PLAY IN ONE ACT 



SCENE 



The living room of a log-house, the home of Mrs. 
Page. It is the typical log-cabin of the mountains. 
Big fire-place at center rear. Broad double windows 
on each side of fire-place, so that the snow-covered 
peaks of the mountains are seen. At R. rear a door. 
In corner a cupboard with dishes and farther front, 
R. a lounge covered with furs. At Right front a 
table, chair on left of table. Book-shelves filled 
with books on left and door at left rear with two 
steps leading up to door. Arm-chair at left front 
and at wall left front, old desk with photograph of 
a man resting on it. Front center a large skin rug. 



CHARACTERS 

Bill Gidbings, Owner Montezuma Mine. And a 
candidate for representative. 

Jack Putnam, Superintendent of Gold Coin 
Mine. 

Betty, Eigth-y ear-old daughter of Mrs. Virginia 
Page. 

Mammy, Betty's colored nurse. 

Mrs. Virginia Page, A Woman With a Past. 
The Teacher in the School, also candidate for 
representative. 



PLACE 

Beacon Hill Gold Camp. The Home of Mrs. 
Virginia Page. 

TIME 

Eight o'clock in the evening. 



The Mystery of Beacon Hill 

DISCOVERED 

Betty on rug down front, playing with a Teddy 
Bear on which she is trying to put a pair of jumpers. 
On the rug beside her is her violin and bow and a 
couple of old dolls and wagon. Mammy, the colored 
nurse is fussing with dishes at cupboard at Right. 
Mammy 

Gawd love you honey, ah'd like to let you play 
a little while longer, but yu ole mammy has got 
to mine wat missus says, as well as my lady Betty 
has. (Comes up front shaking finger at Betty.) 
Betty 

(Pettishly.) But Mammy, I want to put my 
Teddy's jumpers on, 'cause he'll get his white coat 
dirty. 

Mammy 

Yes, yes, lovey, but it's time to git yu music lesson 
(Betty drops Teddy and takes her violin and bow.) 
or else youse ole mammy neber will dance to dat ole 
Dixie song. 

Betty 

(Springs up.) Yes you will Mammy, Hurry. 
(She starts to play Dixie and after a bit of surprise 
from Mammy, the old nurse begins to jig. Betty 
shouts.) Now see Miss Mammy! 
Mammy 

(Out of breath.) Whew! Yu — h! Come 'long 
now, no more fun, jes your lesson. (Exit left. Enter 
Mrs. Page stack of books on her arm. Comes up 
center, puts them on table.) 

93 



94 THE MYSTERY OF BEACON HILL 

Mrs. Page 

Oh, such a trying day! It is an hour since the 
polls closed and I shall soon know my fate. If I 
hadn't wanted to get a Miner's Liability Law 
through, I should never have made the race for the 
Legislature. But something must be done to pro- 
tect the wives and children of miners who are killed 
or crippled in the mines, and through the fault of 
the mine owners. The little fatherless children 
must be cared for. (Music from Betty's violin.) 
A badly supported mine left my own darling father- 
less, and I shall use all my power if I am elected to 
get that law through. (Violin again heard.) Oh, 
my darling song-bird, you will never know what 
I have endured in this campaign. They say (Sits 
at table.) the election of this county is determined 
by the precincts of this camp, and with only a total 
of 1, 600 votes, the count must soon be over. (Rises, 
shuts fists hard.) And after all the whisperings I 
have heard behind my back! (Musing.) What if 
I am defeated — Bill Giddings will go to the Legis- 
lature! But that's impossible. (She stoops and 
picks up the Teddy Bear and play-wagon.) My 
darling baby, the secret is sacred and it is mine! 
What right has any one to intrude upon your past 
and mine! (Betty plays Spring Song.) Ah preci- 
ous baby-girl, the music of Spring and birds is in 
your heart and fingers, but they left my heart years 
ago. I defied Bill Giddings and the curious public 
in this campaign and faced the sorrow all over again, 
my darling child, for your sake and his! (Buries 
face in hands and stifles a sob. A knock is heard at 
door. She busies herself removing hat and does not 



THE MYSTERY OF BEACON HILL 95 

turn.) Come in! 

Enter Bill Giddings. 

{He is dressed as a miner, his gait is slouching 
and has a. mean look in his face.) 
Mrs. Page 
You! How dare you. come here! I'll call 
Mammy. {She starts for door at left.) 
Giddings 
{Catches hold of her and swings her down in 
front again.) No you don't. {He stands in center 
front.) Now look here. I've had enough of youi 
fine talk and high airs, and I stands no more ! See ! 
Mrs. Page 
{Calmer.) We'll not discuss my airs now, — but 
the election first, — ^what does Beacon Hill do? 
Giddings 
It goes 600 Democratic, and that defeats me! 

Mrs. Page 
Then I'm elected a legislator for Colorado, 
Hurray! {Shows much delight over the news.) 

Giddings 

Not so fast! You may be elected, but I doubt 
that you'll ever serve. There are some things, that 
aint quite right. 

Mrs. Page 

{Comes closer to him.) Who or what's to pre- 
vent me! Now see here Bill Giddings, you never 
set foot under my roof before, and since I tolerate 
your presence, I'll refuse to be bullied. {Puts hand 
under plait of her skirt showing pocket and gun. 
She rests her hafid there.) 

Giddings 
Oh, I'll not harm you. Yes I knowed you did 



96 THE MYSTERY OF BEACON HILL 

not know who it was when you piped up "come 
in;" but I came tO' talk to you and you've got to 
listen. I ain't so bad a sort, I have rough ways, 
p'rhaps, but I've got the dough and you haint, and 
all I lack in other things you've got. A couple of 
trips across the big pond will fix me all right. Say 
is it a go? {He comes closer ^ she waves him off, 
and moves backward, her hand all the time on gun 
showing she does not trust him.) 
Mrs. Page 

You're mad to even think of such a thing. Again 
I— I— 

Giddings 

But I loves you, I adores the ground you walks on, 
an I'll do well by the kid. 

Mrs. Page 

No more! (Sneeringly.) You do for his child! 
Oh the thought is maddening to me. Go! 

Giddings 
Not so fast. Suppose I'd tell the school board 
what I know, how long will you have your place in 
the school? Spose I'd tell them about her {Pointing 
toward left, strains of violin is heard.) how long 
will the women of this camp know you. 

Mrs. Page 

Tell them all you think you know. I've proven 

in the eight years that I've been here among them, 

that I am Avhat they believe me to be, a pure, good 

woman. But they would not believe you anyhow. 

Giddings 
Let me tell you something. I know your name is 
not Mrs. Page. {She shrinks and trembles.) You 
are not the wife of Dick Page ! ( Throws up hands 



THE MYSTERY OF BEACON HILL 97 

and staggers.) Your name is MISS GRAY, and 
your child there is without a name! 

Mrs. Page 
(Recovering a little.) Stop! You do not know 
that the love of a noble, big-hearted man blessed my 
baby and me when he died. She was born of a love 
purer and nobler than the peaks of those great 
mountains. (Shouts.) Don't use the name of Dick 
Page, I loved him dearer than life and he is my 
child's father. (Drops into chair at table, sobs 
convulsively.) 

Giddings 

(Shrugs shoulders.) Bah, Child of love! Egad, 
and you boast of it! Ha! Ha! Why the women 
members of the house of representatives if they 
knew, would refuse to sit in the same room with 
you. But come, act sensible, don't turn me down, I 
don't want to peach on you, I mean well by you. 
Mrs. Page 

(Bursting with emotions which she choked down 
while he talked. She rises with both hands leaning 
on table, and looking him straight in the eye, she 
nearly screams her defiant answer.) Now listen, 
Bill Giddings. This is my answer. Go tell the 
people of this town and this state all you know, and 
more, — tell them all you insinuated in the past six 
weeks. Proclaim it from the house-tops, that I loved 
a man so well that I sacrificed my reputation for 
him; and I will shout louder, "y^s, and were he 
living I would do it again!" Tell them that my 
baby girl called him "Daddy," and I will bow my 
head in honor and in gratitude for that one sacred 
word! Tell them that I loved him better than life 



98 THE MYSTERY OF BEACON HILL 

and I will answer, "yes, and I would give the rest 
of my life to hear his voice once more." He called 
me "Wife" and how dare you speak against me! 
He called me "his wife" and how dare you take 
exception to his choice. Leave me, and know that 
there is not a creature on the face of God's earth 
that I despise so much as you! {She drops back 
into chair, head falls on arms on table and her 
whole frame is shaken with sobs.) 
Giddings 

Ho ! Ho ! So you think to scorn me. Well I kin 
afford to be generous, but if I was you I'd take the 
name of some honest man {Dick Putnam enters 
room from, right rear and hears Giddings last 
speech) and not go 'round fakin' a dead man's you 
never owned. 

Mrs. Page 

{Rising furiously.) Leave me. Mercy, — spare 
his memory. {Sinks down in sobs again.) {As 
Giddings turns to go, he is caught up short by Jack 
Putnam's face close to his own.) 
Jack 

So, you scoundrel, you came here and for this. 
I heard your last remarks, and as I had the honor 
of Dick Page's friendship in life, I'll honor his 
memory and stand between his wife and harm. 
You'll answer to me! 

Giddings 

{Hand on gun.) Just let me enlighten you some 
before you play the Prince Charming part. This 
woman is not and never was Dick Page's wife! 
Mrs. Page 

{Rises -Walks to arm chair and hides her face on 
back of chair.) 



THE MYSTERY OF BEACON HILL 99 

Jack 
You lie! He called her wife in my presence and 
with his dying breath. That was enough for me, 
now you damn dog, what do you want? {Steps 
closer to GiddingSj who backs away.) 
Giddings 
Easy, easy. I heard his dying confession, and I 
heard him tell you that no minister had tied the knot. 
Mrs. Page 
(To Jack.) And you heard that too? (Coming 
toward Jack.) 

Jack 
Yes, Mrs. Page, his word was as sacred to me 
as the word of a Prophet, and I ask you not to 
droop in shame for the love of Dick Page was great 
enough to honor any woman, and he certainly loved 
you. 

Giddings 
Well he had a rocky way of showing it. (Sneer- 
ing.) 

Jack 
Giddings I said a few moments ago that you 
would answer to me, and I only regret that the 
settlement must come now before Mrs. Page. But 
since her honor is at stake, she must know all! 
Giddings 
Stand aside. No man orders me! No man 
QUESTIONS me! And by Gawd, no man calls 
me!! Have a care, Jack Putnam, or you'll regret it. 
Putnam 
(Close to Giddings.) I don't order you but I 
intend to question you right now! 



loo THE MYSTERY OF BEACON HILL 

Giddings 
(Steps back and quickly draws gun.) O-ho! 

Jack 
{Makes move to draw his gun, astonished to 
realize he is not armed.) 

Mrs. Page 
{Stepping quickly toward Giddings and pressing 
her gun to his ternple.) He's not armed, but I am! 
Put your gun on the table or you'll never live to tell 
the tale! 

Giddings 
Well seein' it's a three cornered bizness, I'll do it. 
{Puts gun on table. Mrs. Page moves it to other 
side of table.) 

Jack 
Now Giddings tell us w^hat Dick Page's dying 
words were? {Mrs. Page turns away and walks 
to desk J picks up photograph and looks at it.) 

Giddings 
DAMN'D if I'll do it. 

Jack 
Then I propose to make you. {Giddings grabs 
for his gun, but Jack is too quick for him. A 
fight ensues and Jack has Giddings by the throat 
and has forced him to his knees.) Do you still 
refuse? Dog, speak or I'll kill you. 

Giddings 
I — I'll tell — yu — {Staggers to his feet.) He — 
he said he was sorry that he had not gotten over the 
range before the snow fell and had the knot tied, — 
for — he — said — 

Jack 
Go on I ; : ' , 



The Mystery of beacon hill mt 

Giddings 

Well he said — he said he loved her {Motions 
to Mrs, Page.) better than life, but he jes hung 
on working the claim thinking to strike the vein 
each day, when he would be rich and would then 
take her and the kid away, git married and set up 
a home in Denver. He axed you to be kind t,o her 
and the youngster, and some more stuff like that. 
(Starts to go.) 

Jack 

Hold on, that's not all. 

Giddings 
That's all I heered. 

Mrs. Page 
{Coming toward Jack.) Oh let him go. Jack, — 

Jack 
No! {Waving Giddings back as he steps in 
front of him.) He has lied he has not told half. 

Giddings 

Well, I've told all I remembered, (Dropping 
in chair front, right.) but might as well rest here 
as any place. ( Throws one leg over another in a 
careless way.) 

Jack 

Perhaps I had better help you. Eight years ago 
a cruel murder (Giddings' leg falls to floor, shows 
terror) was committed. The woman before us was 
left broken-hearted and the little girl in there was 
left fatherless. The superintendent, Dick Page and 
another miner were descending the shaft of the 
Gold Coin mine. On the way down Dick Page 
warned this miner to cease attentions toward the 
woman who of all others, was dearer than life to 



102 THE MYSTERY OF BEACON HILL 

him; — there was a muttered oath from the miner, a 
swaying of the bucket and Dick Page was pushed 
off into the shaft 300 feet below. (Mrs. Page 
utters a cry of horror.) . You were the miner in 
that bucket. 

Giddings 
(Springs up.) It's a lie. 
Jack 
You remember now all right. I was in the second 
level and heard you both. 

Giddings 
It's a lie I tell yu! (Greatly excited.) Page 
fell over accidentally. I'll hear no more. Let me go. 

Jack 

At his request we let it appear as accidental for 
he said when dying that you knew of no marriage 
ceremony. The murder trial would lay bare his 
heart affairs, and he wished to protect the names of 
his wife and baby. Dick Page was pushed down 
that shaft 300 feet to his death and you did it. I 
am prepared to hand you over to the proper officers 
this minute, and you'll hang by the neck like a dog 
as sure as you stand there. 

Giddings 
(Fumbling his hat.) Well Page asked you to 
keep it from the world. (Leering.) But if I hang 
there'll be some nice bits of gossip go out (Nodding 
toward Mrs. Page.) from that trial before I do. 

Jack 
Yes, and she is the only thing that stands be- 
tween you and the gallows. Now take your choice, 
close your lips forever or face a murder charge in 
the morning. 



THE MYSTERY OF BEACON HILL 103 

Giddings 
(Falls into chair much relieved.) Well I nevei 
intended to tell it, and I reckon I never will. 

Jack 

Now just to make sure of it. If you ever breathe 
a word about Dick Page's wife and baby, every 
miner in this camp will take pleasure in helping 
me pull the rope to which you are dangling from the 
other end. Now get out of here. Take your gun 
and don't forget about that knotted rope. (Gid' 
dings slinks out.) 

Mrs. Page 

Mr. Putnam, and you knew it all the time. 

Jack 

Say, call me Jack, just the same as usual, and 
forget this unpleasant scene. Of course, you know, 
you are elected. But my news, my new^s ; your claim 
and the baby's opened up a half million dollar vein 
to-day and it is liable to produce millions besides 
what's in sight now. 

Mrs. Page 

Oh glorious! Dick always said it would pan out 
into millions. (Turns goes toward door at left.) 
Oh Betty come, (Betty runs out, violin under arm.) 
Betty, we are rich. No more school-teaching dear, 
and mother and you will go to Europe where great 
teachers will teach my baby the music she needs. 
(They embrace each other.) 
Betty 

Really mother! Oh I'm so glad. (She sees Jack.) 
Will Mister Jack go too, mother? (Goes to Jack 
climbs into his lap.) Why don't you kiss me? 



104 THE MYSTERY OF BEACON HILL 

Jack 

Well I must be growing old I guess to forget my 
gallantry to ladies. {Kisses her on the brow. Throws 
front of coat aside.) There is something in there 
for you. {She searches his pockets.) 
Betty 

Oh mother! {R.uns to mother who watches them 
with a sad face. Takes sticks of brightly colored 
candy out of bag. Then runs to rug picks up old 
shattered doll.) Baby dear, listen, we are rich, 
and we are going to Europe. {Picks up violin 
zuhile Mrs. Page strolls to fire-place. Jack watches 
Betty a moment.) Dolly, when I get to Europe 
the Music Master will say, — "Here's Betty Page, 
all the way from Colorado" and he will ask, — 
"Betty do you know your lesson?" and I'll say, 
"Yes-sir" and I'll play like this: {Plays a lively 
bit of music.) {Jack joins Mrs. Page and as Betty 
finishes Mamm.y comes in goes to Betty.) 
Mammy 

Come heah honey, time for chicks like you to go 
to bed. 

Betty 

But Mister Jack is here, I want to stay up longer, 
Mammy. 

Mrs. Page 

No dear, my little girl must go to bed now. 
{Betty takes Mammy's hand with violin under arm, 
goes off with Mammy. Turns on steps and throws 
kiss to Jack.) 

Betty 

Good-night Mr. Jack. 



The mystery of beacon hill 105 

Jack 
Good night Betty dear. Come home from Europe 
to Mister Jack again. {Exit Betty and Mammy.) 

Mrs. Page 
It seems too good to be true. Bettj'- and I rich, 
the tongue of scandal hushed, and you are still my 
friend. {Stretches her hands to him.) 

Jack 

Won't you let me tell you again what my heart is 
bursting to say? Your reasons are nonsense. {Leads 
her down front.) I love you, Virginia, I love your 
child, let me be a protector to her and your devoted 
lover for the rest of your days. {He grasps her 
hands. ) 

Mrs. Page 

If I could only decide that it is right. You havt 
shown your love for me in so many beautiful ways, 
but I can't be certain of its justice to you. I only 
know I feel a longing for some kind arm to be 
stretched out to Betty and me. But I can't make 
myself believe that I shall mean anything in return 
for your great love. 

Jack 

Let me decide for you. Say yes, Virginia. 

Mrs. Page 
No, that would not be fair to you. I have had 
my romance as every woman should do, and my 
heart is still calling and pleading for those old days 
of bliss to come again. The kindness you have 
shown me all these years, deserves a love palpitating 
with passion, it deserves a heart bursting with a 
response as big as its own. My heart tells me that 
it can not give you enough to accept your great 



io6 THE MYSTERY OF BEACON HILL 

devotion, and in justice to you, I will not let you 
waste a love as grand as yours upon an altar whose 
fires have burned to the cinders and whose ashes 
speak of a love that knew no bounds. {Pleadingly.) 
Forgive me, if I seem ungrateful to the honor you 
do me, but I think I like you too much to let you 
sacrifice your splendid manhood upon one so un- 
worthy. 

Jack 

But give me some hope. Wait till you get across 
the waters, where new life beckons you both. Say 
you will let me hope? 

Mrs. Page 

Doesn't my past hold any fears for you? 
Jack 

It holds a picture of a woman who loved and was 
loved. Who rose above sorrow, with another and 
holier affection, a mother's love. I have all admira- 
tion for you, I love you with my whole being ! 
Mrs. Page 

I shall be gone two years. Jack, and if when I 
come back, — 

Jack 

And when you come back and land on the wharf 
in New York City, Jack Putnam will be there to 
meet Dick's wife and baby. {He stoops and kisses 
her hand. She partially turned away, he holds her 
hand while making the speech.) 
Mrs. Page 

{She turns suddenly.) You do love me! {Going 
toward him.) Come with Dick's wife and baby 
now! {Rushes into his arms.) 

CURTAIN ON CLINGING SCENE 



DOLLY MADISON'S AFTERNOON TEA 



STAGE SETTING 

The furniture of a lady's boudoir. At upper left 
a small table where card tray stands, also bouquet of 
flowers. Next a piano and in front of piano two 
chairs. Back of entrance at right back is a 
small lady's desk. Center back a small sofa and 
cushions. To left of sofa the tea-table. Side left a 
mantel and upper left a chair. The chairs and sofa 
form, a circle and there is room at back for Gretchen 
to pass to desk, tea-table and mantel without cross- 
ing in front of the afternoon callers. 



Characters 

Dolly Madison, Wife of the President of the 
United States. 

Pauline Doystofsy, a Russian Countess. Tal- 
ented and very gay. 

Mrs. John Mills, Wife of the Brigadier-Gen- 
eral of the U. S. Army. 

Mrs. John Garfield, Wife of Secretary of State 
U. S. A. 

Gretchen Peer, Private Secretary to Mrs. 
Madison. 

Jenny Green, a Maid in the White House. 



SCENE 

A private sitting room in the president's mansion. 
PROPERTIES 

Furniture of a drawing roomj with a tea-table in 
readiness. Cakes and bon-bons, etc. 

TIME 

When Dolly Madison was Mistress of the White 
House. 

PLACE 

Washington, District of Columbia. 
Scene opens in the afternoon with Gretchen Peer 
and Jenny talking. 

COSTUMES 

Powdered hair. Colonial frocks and large fans. 



Dolly Madison's Afternoon 
Tea 

DISCOVERED 

{Jenny is dusting the chairs and furniture, while 
Gretchen is adjusting the tea things.) 
Jenny 
Is this to be a big company, this afternoon, Miss 
Gretchen ? 

Gretchen 
No, just a few of Mrs. Madison's close friends. 

Jenny 
I see there is a bundle of music on the piano, 
does it belong to the Russian Countess? 
Gretchen 
(Goes to piano J opens the roll of music j glances 
it over then comes back front.^ Yes it is the 
countess'. (Looks troubled.) 
Jenny 
(Looking at Gretchen carefully.) What trou- 
bles you? 

Gretchen 
(Startled.) Oh nothing. (Rubs her hands and 
goes to tea-table and picks up several cards.) 
Jenny 
Yes there is, and it is all over this wonderful 
Russian lady which my mistress has taken such a 
fancy to. 

Gretchen 
Jenny, you must not prattle, I must forbid you. 

Jenny 
Oh you know I would not mention this to any 
III 



112 DOLLY MADISON'S TEA 

one but you. And, Miss Gretchen, I heard the 
master ask the mistress this morning at breakfast, 
if she were going to be able to remove the prejudice 
which certain ladies have against her, and she said 
she was trying hard. 

Gretchen 

Dear Mrs. Madison, she is such a sweet friend 
to everyone. She could never hurt any body. 
Jenny 

Unless in fun, but she does like to laugh. I think 
that is why she likes the Russian countess, she makes 
my mistress laugh. 

Gretchen 

This countess is a most superior person and only 
a few old women say unkind things. Dear me, I 
hope Mrs. Madison won't hear them! 
Jenny 

{Down front, strikes a threatening attitude with 
duster. ) I hope she does. Then she will be so mad 
that she will cut out old Mrs. General Mills. 

Gretchen 

Jenny, how you talk! {Comes near Jenny.) 
Jenny 

I hate that old paint box. She asks me questions ! 
I like some cats but not her kind. ( Gretchen throws 
up hands in astonishment.) She was waiting for my 
mistress last week and came close to me and asked 
"does the President still kiss Mrs. Madison?" and 
I told her "Yes, he lets the wafHes get cold kissing 
her when she comes down to the breakfast table." 
And you know all Washington know how the Presi- 
dent do love his wafHes. {She strides and laughs.) 
Ha! ha! You should have seen her face. 



DOLLY MADISON'S TEA 113 

Gretchen 
{Terribly amused but tries to conceal it.) Well 
what else has she asked you? 
Jenny 
She asked if my mistress ever scolded me, and I 
said "Law no, she's a thoroughbred, she isn't one 
of the Army," then I walked out. 
Gretchen 
Dear little Dolly Madison, with heart so big and 
light that gossip nor malice can reach it. 
Jenny 
Is the room all right Miss Gretchen? 

Gretchen 
{Looks around.) Yes I think everything is in 
readiness, I will ring for the tea when the ladies 
arrive. And Jenny {Puts fingers to lips.) remember. 
Jenny 
{Nods head J crosses heart.) Sure, anything for 
pretty Mistress Madison. But I can't help dis- 
liking Mrs. Mills. {Goes out.) 

Gretchen 

{Takes cards from table and puts them on piano.) 
What a number of cards for one day. {Goes out.) 
{Bell rings.) 

Jenny 

{Comes in fixing her bow before mirror, bell 
rings long again.) That sounds like Mrs. Mills 
ring. Well let her wait till I eat this cake. 
{Jenny eats a cake she takes from table. In 
her haste she chokes and struggles to get it down, 
finally swallows it and goes to door.) {Outside 
there is scolding and voices are shrill and loud. 
Jenny backs in holding the card case high before 



114 DOLLY MADISON'S TEA 

her face and Mrs. Mills follows closely shaking her 
finger at Jenny.) 

Mrs. Mills 

I shall report your impudence to the President, 
girl, do you hear {Fanning herself very fast, looks 
ugly at Jenny.) 

Jenny 

{Bows low before Mrs. Garfield, who accom- 
panies Mrs. Mills.) I shall tell my mistress you 
are here. {Tosses head high as she passes Mrs. 
Mills, when at door turns and asks Mrs. Mills.) 
Are you present or angry? {Darts out.) 
Mrs. Mills 

{Closes fan and taps it angrily on the arm of 
her chair.) I tell you Mrs. Garfield, servants re- 
flect the manners of their mistress, — br-r-rh! 

Mrs. Garfield 
Oh no, my dear Mrs. Mills, Mrs. Madison is 
just a sweet child, she is imposed upon by strong 
willed servants. Dolly is a dear. 

Mrs. Mills 
Well I know she is a great burden to the Presi- 
dent. 

Mrs. Garfield 
Oh no, my dear, Mr. Garfield says she is the angel 
of the administration. 

Mrs. Mills 
Tut! Tut! my dear. These young men have 
lost their heads and will soon lose their hearts to 
this dashing mistress of the White House. Be care- 
ful my dear, watch your husband every moment. 
I keep a close guard on the General and he is no 
longer young or handsome either like yours. 



DOLLY MADISON'S TEA 115 

Mrs. Garfield 
{Handkerchief to eyes.) Well it is not dear 
Dolly's fault because she is pretty and witty, and 
I am plain. But I'll take your advice and watch. 

Mrs. Mills 
It is this way, she needs a strong hand to guide 
her, and the President is so head-over-ears in love 
with her that he encourages her in her folly. 
Mrs. Garfield 
Oh dear, I wish I were handsome! But John 
does love our children. 

Mrs. Mills 
Yes, yes my dear, but these men should seek other 
diversion than dancing attendance on the President's 
wife. Mr. Madison merely pinches her ears and 
pats her cheeks and says "Now be good, my dear!" 
Think of it. And this Russian woman. Oh, they 
are all crazy about her. 

Mrs. Garfield 

But don't you think since Mrs. Madison has 
taken her in, that it is unwise for us not to be 
cordial ? 

Mrs. Mills 

{Aghast.) I should say not. Never shall I bring 
up the rear for a foreigner. She must be kept in the 
background and I intend to show my feeling in this 
matter. {Walks to piano and straightens up as she 
catches a glimpse of her husband's card and that of 
the Countess Doystofsy on the plate.) Oh! — O — 
h-Oh! {Mrs. Garfield reads the cards as Mrs. 
Mills flourishes thern in the air.) 
Mrs. Garfield 

{Reads them.) Your husband and the Countess! 



ii6 DOLLY MADISON'S TEA 

(Gretchen comes in. Both ladies are glaring in 
astonishment at the cards. She takes in situation 
then walks straight to table which gives Mrs. Mills 
a chance to throw cards back on plate.) 
Mrs. Mills 
{Coming forward.) Looking for anything, Miss 
Peer? {Very pointedly.) They are there! {Point- 
ing to cards with wave of fan.) 
Gretchen 
No, I was looking for something. Mrs. Madison 
dropped her thimble. {Looks at them both suspici- 
ously.) 

Mrs. Mills and Mrs. Garfield 
{Mockingly.) Too bad! {Miss Peer tosses head 
and goes out.) 

Mrs. Mills 
Shocking. 

Mrs. Garfield 
Awful. 
{A peal of laughter is heard outside.) (''Oh 1 

FORGOT DEAR GrETCHEN. I PROMISE^ NEVER^ 
AGAIN.'"'') 

Mrs. Mills 

{Enter Dolly Madison.) How do you do Dolly. 
Dolly 

Oh my dear, {Places a kiss on Mrs. Mills cheek.) 
forgive me for being late. {Goes to Mrs. Gar- 
field, kisses her.) How sweet you look. {Turns 
to Mrs. Mills.) And Mrs. Mills, you wore my 
favorite color. Believe me dears, I love you both. 
Sit, and tell me what you are both doing these days. 
{To Mrs. Garfield.) How are the children? 



DOLLY MADISON'S TEA 117 

Mrs. Garfield 
Very well indeed. And you, how are you stand- 
ing the season? 

Dolly 
I am rather tired, and, — 

Mrs. Mills 
Yes, yes — {Expectantly.) 
Dolly 
A little tanned and freckled. And do you know 
that I had quite an accident yesterday, — well nearly. 

Mrs. Garfield. 
Why, no. What was it? 

Dolly 

Well I turned my ankle a bit while out walking 
near here. 

Mrs. Mills 

How did you manage to get home? Were you 
alone or was the President with you? 
Dolly 

Oh, dear no, Mr. Madison can't leave the politi- 
cians. And they won't leave him alone unless I 
take them^ for a walk. So I capjtured one. {Hand 
to brow.) Let me see, — u-m — u-m, oh yes it was 
your husband Mrs. Mills, Gen. Mills. {Ladies 
exchange significant looks.) We were chatting and 
having a nice, sweet, quiet walk, when a dear little 
white kitten ran along the path. I started to run 
after the fluffy thing {Both ladies look horrified.) 
and my foot caught in my ruffles, and I tumbled in 
a heap on the green. The President saw it from 
the window and he told me this morning that he 
did not know which of us looked the most like a 
fleece of wool, myself or the kitten. Do you know, 



ii8 DOLLY MADISON'S TEA 

Gen. Mills never laughed! {Turns to Mrs. Mills.) 
Don't you ever let him, — er — um — I mean don't you 
ever laugh, — no, no, I mean, don't you ever do or 
say — Oh, don't you ever do a silly thing at your 
house? {Turns in distress to Mrs. Garfield.) Oh, 
say, of course you do foolish things at your house, 
you are young, — I — I mean you have children. Now 
there I've said it. 

Mrs. Garfield 

Oh indeed, yes we do. When John comes home 
from the office we often go to the nursery and he 
rides the children on his back, and once they insisted 
upon our playing fire and I climbed up a tall ladder 
and so did John. {Dolly claps her hands.) 
Dolly 

Bravo! Bravo! Oh Mrs. Garfield, do send for 
me the next time you play fire laddies. {Mrs. Mills 
coughs.) What do you play at your house? 

Mrs. Mills 
We are sensible people at my house. Yes, quite 
sensible. {Dolly all the time hows her head at 
the old woman's emphatic words.) There has got 
to be a sane center somewhere or this nation would 
go to the bow-wows with the Madisons steering 
the ship. I mean that your husband is a sensible 
far-seeing man and — 

Dolly 
Yes, yes. Now how much longer does your hus- 
band serve. How is he appointed? 
Mrs. Mills 
Why the President is commander-in-chief and my 
husband — is — is nominally under the President. 



DOLLY MADISON'S TEA ii^ 

Dolly 
{Pursing up lips.) I think I'll talk with Mr. 
Madison about the army. {Pointedly.) I'd like to 
take an interest in the army. 

Mrs. Garfield 
Of course, the President will try to interest you 
in it, because your best and oldest friends, the Gen. 
and Mrs. Mills are there. {Mrs. Garfield nods 
to Mrs. Mills.) 

Mrs. Mills 
Of course anything that the General or myself 
can do for you my dear, Dolly, we are always at 
your service. {She comes closer to Dolly.) I do 
hope the General was quick to relieve the pain of 
your ankle yesterday? 

Dolly 
Goodness no, he called my friend Countess Doy- 
stofsy who was coming down the street and she 
assisted me home. Isn't she charming? By the way 
she promised to drop in for a cup of tea on her way 
home from the Embassy. She is the rage of the 
season. You both like her of course, — 
Mrs. Garfield 
Yes, I think I will, I have met her but once and 
theft for only a moment. She is much discussed. 
The ladies do not seem to praise her so much as 
the gentlemen. Why? 

Dolly 
It's because the men have sense. That is, — I 
mean they appreciate wit and beauty and art — 
{She looks frightened as she turns from one lady 
to the other.) Well you know of course she plays 
the most beautiful music, she is talented, a real 
genius. 



120 DOLLY MADISON'S TEA 

Mrs. Mills 
But my dear, are all the ladies in our circle 
receiving this extraordinary young lady? 
Mrs. Garfield 
Now, Dolly, do you think we ought to receive 
her? 

Dolly 
Ought to ? Why you must ; oh I say, what posi- 
tion does your husband hold? 

Mrs. Garfield 
Oh my dear, it makes no difference, I shall do as 
you wish. I believe you are right in standing for 
this young woman. 

Dolly 
Now that's right, be sensible. It's catty to be 
unkind. Why she needs no one to receive her or 
protect her. She is a genius. She can go anywhere, 
her world is bounded by the horizon and the zenith 
above. My, how I envy her. 

Mrs. Mills 
But my dear, she is so different, she Is — 

Dolly 
Yes exactly. That's why I like her. She has 
beauty, talent, fine manners, wit and joy within her. 
Oh! I quite love her, my dears. (Bell rings.) Here 
she Is now. 

{Enter Gretchen carrying violin and Countess 
Doystofsy.) 

Countess 
My dear Mrs. Madison, how are you to-day? 
How is the foot? (Kisses Dolly.) 
Dolly 
Oh, I'm ripping. You know the ladles, — 



DOLLY MADISON'S TEA 121 

Countess 
Oh yes, indeed. How do you do Mrs. Mills. 
My what an excellent likeness that was of you on 
the Society page yesterday. Oh, Mrs. Garfield, 
how delighted I am to see you. {She shakes hands, 
high, with both ladies.) Wasn't Mrs. Mills picture 
splendid. Did you see it, Dolly? 
Dolly 
Yes it was a fine picture of some lady, was it you ? 
(To Mrs. Mills.) 

Countess 
Now Dolly, you have your teasing mood on, you 
shall not have any music if you're not good. {Mrs. 
Mills sits beside Mrs. Garfield.) 
Mrs. Garfield 
I thought it a most beautiful picture. Were you 
at Mrs. Thurlow's tea. Countess? 
Countess 
No, I was not invited, I do not know the wife of 
your Secretary of War. 

Mrs. Mills 
{Aside.) What did I tell you! 

Dolly 
Well, I'll have her call on you. {Mrs. Garfield 
and Mrs. Mills look at each other behind their 
fans.) {Dolly aside to the Countess.) Keep cool 
they'll come around all right. 
Gretchen 
Will you have tea now, Madam? {Addressing 
Dolly. She has been seated at the desk in the rear.) 
Dolly 
Yes ring for the tea things and make it Gretchen. 
{Gretchen rings and Jenny brings in kettle of wa- 



122 DOLLY MADISON'S TEA 

ter. She purses up her lips at Mrs. Mills.) Come 
over here Countess and take this chair. {The 
Countess moves to Dolly's side.) 

Mrs. Mills to Mrs. Garfield as Dolly pretends 
to examine the Countess' fan.) 
Mrs. Mills 
Isn't it terrible the way Dolly favors this 
Countess. 

Mrs. Garfield 
Oh, let her, anything to amuse her. Do you 
think she w^ill ask for our husbands' resignations? 
{Tea is served.) 

Mrs. Mills 
Oh, Countess, I heard a nobleman praising your 
music at the dinner of the English Ambassador last 
evening. 

Mrs. Garfield 
Oh yes, he said it rivaled your beauty too. 

Dolly 
{Grimaces behind her fan addressing Mrs. Mills.) 
My dear, if there is anything in this city to rival 
your portrait I shall be astonished ! ! {Puts her foot 
on the Countess'.) 

Mrs. Mills 
Yes the General is quite delighted w^ith it. ( Takes 
sugar from table.) 

Countess 
{Aside.) Dolly, stop kicking me. I shall die. 

Mrs. Garfield 
{Askance at Dolly's feet.) Won't you play, 
Countess? {Mrs. Garfield returns tea-cup to table.) 
Countess 
What shall it be. {Rises.) Anything in par- 
ticular? 



DOLLY MADISON'S TEA 123 

Mrs. Garfield 
What is your favorite, Mrs. Mills? 

Mrs. Mills 
Well nothing Polish or Russian. Let me think — 

Countess 
{Sneeringly.) Don't you — {Dolly grabs her 
and in an aside.) 

Dolly 
{Aside.) Not a word. Play something to melt 
the hearts of beasts. {Countess rises, goes for 
violin.) 

Mrs. Garfield 
Did you speak, Dolly? 

Dolly 
Yes, I just reminded the Countess, that it was 
the Greeks idea to have music tame wild beasts. 
{She looks innocently from Mrs. Garfield to Mrs. 
Mills.) Play, Countess. 

Countess 
Dolly, can you accompany me? {Dolly shakes 
head.) No, can you, Gretchen? {Gretchen goes 
to piano.) Oh, too bad. {Looks at Dolly.) 
Dolly 
No, I never could practice, so I can't play a bit. 
Mr. Madison thinks my "Beulah Land" quite thril- 
ling though. {Mrs. Garfield and Mrs. Mills look 
at Dolly and shake their heads in pity.) {Dolly 
mockingly.) Isn't it awful! 
Countess 
{Tuning up at piano, talks as she turns keys.) 
Oh, Dolly, do you remember the last time I played 
with you? {Both giggle.) Gracious, I never 
thought we would get home without being dis- 
covered. 



124 DOLLY MADISON'S TEA 

Mrs. Mills 
Why, my dear Dolly, was there anything to con- 
ceal ? ( Breathless. ) 

Dolly 
Well, the Countess did not look very bad, but I 
was a sight! My dress was torn and muddy and 
my hair all rough and my temper was bursting. 

Mrs. Mills 

Shocking, Dolly, shocking. (Aside to Mrs. Gar- 
field.) And the President's wife. {Fans hard.) 
Countess 

Oh no one saw us after the carriage pitched over 
in the mud. Then we went into the cottage o^ an 
old negress who knows Dolly. She gave us clothes 
and we disguised as two old negresses, and drove 
right by the Capitol. We bowed to all the people 
we knew. They did not know us and it was so 
funny to see their cross faces when we saluted them. 
I think Gen. Mills cussed a little. {Dolly and 
Gretchen and Countess laugh.) 
Mrs. Mills 

Quite right, but Dolly, did you tell Mr. Madi- 
son? 

Dolly 

Of course. He said I made a good darkey. But 
Countess, do play. 

Countess 

I shall play the favorite of the First Lady In 
the Land. {Makes low bow.) "Love's Homage," 
to Mistress Dolly Madison. {She plays. The 
ladies applaud and cry "more" and she plays another 
selection.) 



DOLLY MADISON'S TEA 125 

Mrs. Garfield 
Thank you, Countess. Your art is nothing short 
of genius. 

Countess 
Oh you quite overcome me. 

Mrs. Garfield 
And now Dolly, (Rises.) I would like to give a 
dinner for the Countess, how would two weeks 
from this evening do? Have you anything for thai 
time? 

Dolly 
Gretchen please, look up my engagements. ( Gret- 
chen takes small note book from reticule and rising 
comes to Dolly.) 

Gretchen 
No, madam, you have no dinner engagements. 

Dolly 
The day is suitable. 

Mrs. Garfield 
{Shakes hands, says "Good bye" to the three 
Indies, as she passes Mrs. Mills she speaks.) {Aside.) 
Remember your husband's job. {Stands near door.) 

Mrs. Mills 
And now Countess I have been thinking of giv- 
ing an afternoon soiree and I want you as my honor 
guest. How will three weeks from to-day suit 
you, Dolly ? 

Dolly ^ 
Quite well. I have no appointments, for that day. 
Will the gentlemen also be invited? 

Mrs. Mills 
Of course, they shall have the privilege to come. 
And now my dear Countess, good-bye, so glad to 



126 DOLLY MADISON'S TEA 

have had this delightful hour. (Kisses her on the 
brow, which she wipes off as Mrs. Mills kisses 
Dolly.) Drop in soon, Dolly dear. 

Dolly and Countess 
Good-bye. Good-bye. {They call back "Good- 
bye.") 

Dolly 
Well either my threats or your music tamed them. 
But the way is clear now, {With a flourish of fan.) 
they are the worst and we've won them. Isn't it 
fun! 

Countess 
Jolly good fun. My, I was so anxious! 

Dolly 
I was too. Oh Gretchen, make another cup of 
tea. Strong, Gretchen, good for tired nerves. ( Gret- 
chen goes to tea-table.) And Countess, play while 
I recline, and I'll try to forget politics and what 
Mrs. Mills and Mrs. Garfield think of me. {Yawns, 
lies on sofa. Countess begins soft music. Prefer- 
ably "Wild Rose." Gretchen is fussing at tea- 
table and Dolly turns on sofa face to audience and 
closes eyes.) 

SLOW CURTAIN AS MUSIC CONTINUES 



THE DAWN OF MUSIC 
A MUSICAL ACT FOR THREE PEOPLE 



PREFACE 

This is a wordless drama but I have endeavored 
to have its story told with the aid of music, and 
upon the violin, — the instrument best suited to 
reach the subtle and varied feelings of the race. 

A word of explanation about the suggested com- 
positions to be used in the drama may be ncessary. 
In choosing pieces to express the emotions in the 
drama, the selection that would convey pathos, for 
instance, to one person, might mean sorrow to an- 
other. Or a selection might express fear to one 
individual and repentance to another. All the pieces 
will be modified by the attitude in which they are 
approached. Our beautiful Rocky Mountains im- 
press some who gaze upon them with a feeling of 
sublimity, and exclamations of joy follow. While 
to others they convey a feeling of loneliness and 
dread. It is due to the mood in which they are 
approached. 

It seems to me that music suggests emotions not 
easily analyzed and classified; moreover, few com- 
positions express one emotion only for any length 
of time. I am inclined to think of Music as Ruskin 
did of Art, — "Indeed, it is not easy to be accurate 
in an account of anything, however simple." The 
important thing in making the selections is not 
whether we choose pieces that arouse the same feel- 



128 PREFACE 

ings in all people, rather, do they give to all people 
real pleasure. 

I wish to express my gratitude to the Denver 
violinists who have so kindly discussed the various 
pieces of music with me, while I was making my 
judgments. 

Denver, Colorado, July loth, 1912. 



THE DAWN OF MUSIC 

CHARACTERS 

The Divinity, the Goddess of Music. 
Ermillina, the discontented child of music. 



TIME 

Long, long ago, when the World was young and 
Music very old. 

PLACE 

In the World of Music, at the home of the 
Divinity of Music. 

COSTUMES 

Flowing, soft robes of white, and flowers in their 
flowing hair. 

PROPERTIES 

A piano behind screens of vines and flowers on 
left rear, where accompanist may be seen by the 
violinists as they come down the rocky mountain 
path from the Grotto or {Home of Music.) 

Colored lenses to give the various shades of sun- 
rise — {Pink, purple, yellow and all tones of a beau- 
tiful sunrise.) 

Autumn leaves. 

Back drop. Represents the side of a mountain 
covered with vines and climbitig shrubs and flowers. 
Opening or door to Grotto. Steps leading down to 
the left side of stage. 

Moss mats on floor of stage. 



The Dawn of Music 

PLOT 

Ermillina, a fairy violinist, who has tired of the 
world, withdraws to the home of the Divinity of 
Music. She has lived here for ages and has given 
her music to the world about her and has played 
for the fairy folk who have lived unseen in the 
World of Melody and Song. After ages with the 
Goddess of Music, discontent seizes her and she 
throws off the bondage and determines to return to 
the Material World and its frivolities. She rushes 
away but does not go far when darkness overtakes 
her and the Discords of the Material World frighten 
her. She expresses her fears of the strange world 
thru her trusty violin. Her wild appeals for aid 
attract the Goddess of Music who comes to meet the 
erring Ermillina with open arms. With heart burst- 
ing with joy the Child of Music returns to the 
Music World and vows never to leave it, — but live 
only to give Song and Joy to the Music World 
forever. 

Scene and story of the drama as interpreted by 
music. 

Rude vine covered grotto in the side of a moun- 
tain, where roses and sweet pea vines and jasmine 
flowers hang over the doorway. A rocky, mountain 
path, leads down gently to left rear. Moss covers 
the ground and stairway. It is not daybreak but 
the song and twitter of birds are heard and the rosy 
glow of sunrise floods the stage, which in turn is 
131 



132 THE DAWN OF MUSIC 

followed by shades of purple and pink and gold, 
lastly a fiery red. Strains of music are heard from 
the grotto telling of distress and violence. Sudden- 
ly the angry piece is finished with a master stroke 
of bows and a young girl rushes out of the grotto 
carrying a violin. She stops a moment outside the 
door then strikes up the music of {de Beriot's Con- 
certo No. VIIj First Movement, expressing Rebel- 
lion and Discontent.) She plays as she comes down 
the mountain stairway. At the same time the God- 
dess of Music appears at the doorway stretching 
her arms appealingly to the child and showing great 
sorrow at the breaking away of the Child of Music. 
P'rmillina reaches the center, where she stops and 
looks back, scornfully shaking her head. When she 
finishes, the Goddess of Music begins a thril- 
ling piece {Massenet's Meditation. She comes down 
sloivly to center stage.) then it rushes into the plead- 
ing, insistent bars {Sextette from Lucia.) and Er- 
millina joins in the playing all the time shaking her 
head "No." Then the Goddess plays another appeal 
{Bornsheins Love's Torment.) expressing fear but 
this does not change Ermillina who longs to stay 
in the Material World. Ermillina answers with a 
piece {Expressing freedom, Vieutemp's Gavotte.) 
and joyously skips about the stage, then off stage 
at right. Disconsolate the Goddess makes one more 
appeal {Walter's Prize Song from Die Meister- 
singer.) expressing Love and Solicitude. She plays 
while returning to Grotto and and finishes in front 
of Grotto. The last chords reach the erring Er- 
millina who comes on stage playing {Tschaiko- 
wski's Andate Cantabile for strings, meaning Re- 
pentance.) She starts up the stairway. When half- 



THE DAWN OF MUSIC 133 

way turns and faces audience and the Goddess faces 
down stage, and stands in front of Grotto door. 
The Goddess joins in the piece of Tschaikowski. 
Both seem to play for the safety of Music for all 
ages, — for mankind. The erring Music Child 
rushes up to the side of the Goddess of Music, who 
embraces her and both begin {Arthur Goot's "Morn- 
ing Song.") meaning joy at the return of the erring 
child. A little before the piece is finished the purple 
shadows begin to loiwer, followed by pink and gold. 
Ermillina enters the Grotto {Her homej — the Home 
of Music) while playing and is followed by the 
Goddess. The closing strain of both players is 
heard from within. The soft rosy glow of sunrise 
enters and the curtain falls on {Mendelsohn s Finale 
from Concerto or Grieg's "To Sprmg" for voice 
and violin and the orchestra.) 

CURTAIN 



AMERICAN DRAMATISTS SERIES 



A series of plays by contemporary American flramatlsts; 
uniformly bound in antique boards, each, $1.00 net. 

THE FliOWER SHOP. By Marion Craig-Wentworth 

Play in three acts, dealing with woman's suffrage. 
THE MA^ TOU liOYE. By Robert A. Kasper 

A drama of to-day in four acts. 
PUPPETS OF FATE. By Alice Elizabeth I^avelle 

An historical drama of the time of Napoleon, in four acts 
and a prologue. 

THIRST. By Eugene G. O'Neill 

Five one-act plays: Thirst, The Webb, Warnings, Fog, 
Recklessness. 

THE GIRIi IN THE PICTURE. By Alexander W. Shaw 

A farce in two acts. 
SOME PEOPI<E MARRY. By Robert A. Kasper 

A drama of to-day in three acts. 
A MAN'S WORIiD. By Rachel Crothers 

Miss Crothers' famous play of to-day. In three acts. 
A IiIGHT FROM ANOTHER WORI/D, By C. H. McGurrin 

A dramatic sketch of to-day, in one act. 

THE MTTLE MOTHER OF THE SI-UMS. 

By Emily Herey Denison 

Seven One-act Plays: The Little Mother of the Slums; 
Duped; The Yeggman; The Mystery of Beacon Hill; My 
Friend's in Town; The Dawn of Music; Dolly Madison's 
Afternoon Tea. 

THE JUDGE. By liouis J. Block 

A play in four acts, founded on the novel of Karl Bmll 
Franzos. 

EVERTCHIIiD. By Beatrix Reynolds 

A fanciful story in dramatic form, which will help chil- 
dren to understand music. 

BIRDS OF A FEATHER. By Thomas Gaffney 

A play in four acts with a prologue and an epilogue. 



Richard G. Badger, Publisher, Boston 






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